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Full text of "Starlog Magazine Issue 202"

NO ESCAPE for Ghostbuster Ernie Hudson 



GRAPHIC NOVELS 



THE FOREVER WAR 
Haldoman ■ Marvano 

The best-selling SF classic in a stunning graphic novel 

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BRADBURY CHRONICLES 

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NUMBER 202 
MAY 1994 
THE SCIENCE FICTION UNIVERSE 



Examining The X-Files is serious busine 
for David Duchovny (see page 46). — ^ 



I MEDIALOC 
10 GAMELOC 
14 VIDEOLOC 
16 BOOKLOG 
22 FAN NETWORK 
66 CLASSIFIED 
76 TRIBUTE 
82 LINER NOTES 



7 UNDERSEA DOCTOR 

On board "seaQuest," Stephanie 
Beacham studies marine life 

2 ALWAYS A CHOSTBUSTER 

There's "No Escape" from that 
label for Ernie Hudson 

ONEHEAD COMICS 

"-'-, they're consuming mass 
itities in funny books 



-"^ 



LIEN AMBASSADOR 

lira Furlan understands the 
ppeal of another life 

^EVIL'S ADVOCATE 

investigating "The X-Files" Is 
David Duchovny's mission 



50 WHO'S COMPANION 

Anneke Wills once traveled in 
the TARDIS with Guess Who 

52 ELECTRIC FUZZ TELEVISION 

RoboCop patrols Toronto's 
stainless steel streets 

56 STAR WARS DATING GAME 

It's an epic courtship for 
Han Solo & Princess Leia 

60 LUNAR DESTINY 

Years ago, John Archer 
rocketed "Destination Moon" 



STARLOC- The Science Fiction universe is published monthly by STARLOC 
COMMUNICATIONS INTERNATIONAL. INC., 475 Park Avenue South, New York, NY 10016. 
STARLOC and The Science Fiction Universe are registered trademarks of Starlog 
Communications International, Inc. (ISSN 0191-4626) (Canadian GST number: R- 
124704826) This is issue Number 202, May 1994. Content is © Copyright 1994 by STARLOG 
COMMUNICATIONS INTERNATIONAL, INC. Ail rights reserved. Reprint or reproduttion in 
part or in whole without the publishers' written permission is strictly forbidden. 
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LEGIONS OF REMAKES 

The Newcomers are indeed returning. To 
fans' delight, a TV movie, Alien 
Nation: Dark Horizon, is being produced. 
Diane Frolov and Andrew Schneider — who 
worl<ed on the series — are writing and 
producing this project derived from the 
unfiimed script which wrapped up the 
show's loose ends (itself already novelized 
in paperback). Kenneth Johnson returns as 
executive producer. He'll also direct. 

Remakes: John {Home Alone) Hughes 
plans remakes of two film fantasies, the 
classic Miracle on 34th Street (which 
Hughes has scripted) and Broadway's Damn 
Yankees (the musical in which the Devil 
helps a baseball team win). 

Alive'i John Patrick Shanley will write 
and direct a new Bell. Book and Candle. 

The classic 1952 genre film The Man in 
the White Suit — concerning an inventor who 
devises a fabric which won't wear out or 
ever get dirty — is also being remade. Donald 
Petrie directs from a script by Charlie Peters 
and Will Osborne & Will Davies. This new 
version's called Eureka. 

Miramax is assembling a remake of 
Robert Wise's 1963 classic The Haunting 
(based on Shirley Jackson's The Haunting of 
Hill House). 

The TV-to-movie trend continues and 
continues and continues. Among those in 
line for new life are // Takes a Thief. Hawaii 
Five-0 and Hogan's Heroes. 

John Landis has taken on The Munsters. 
He'll remount the property — already two TV 
series, a theatrical film and a TV movie 
reunion — as a new TV movie for Fox. 

Meanwhile. Mel Gibson is being men- 
tioned as the possible star of the big-screen 
version of The Prisoner. 



FILM FANTASY 
CALENDAR 

All dates are e.xtremely subject to 
change. Movies deemed especially 
tentative are denoted by asterisks. Changes 
are reported in "Updates." 

April: No Escape. Brainscan. 

Spring: The Muppet Treasure Island*. 
Thumhelina. 

May: The Flintstones, The Crow. 

Summer: A Troll in Central Park, 
Blankman. Time Cop. 

June: The Lion King. Wolf. 

July: Stargate*. The Shadow. 

August: The Mask. Ed Wood. 

Fall: Mary Shelley's Frankenstein. 

October: //; the Mouth of Madness. 

Thanksgiving: The Swan Princess, the 
Ne.xt Generation movie. 

X-Mas: The Pagemaster, Interview With 
the Vampire. The Goofy Movie. Casper. 
Miracle on 34th Street. Tall Tale. 

1995: Judge Dredd. Spider-Man, Mortal 
Komhat. 



Fantasy Films: Stuart (Re-Animator) 
Gordon takes on Space Truckers later this 
year. It's a S15 million SF action/comedy 
scripted by Ted {NYPD Blue) Mann focusing 
on three cargo spaceship workers who travel 
the galaxies. Also on Gordon's slate is a film 
version of the David Quinn-Tim Vigil comic 
book Faust (scripted by Quinn). 

Waterworld. starring Kevin Costner, is 
shooting. Kevin Reynolds directs this SF 
tale of a future Earth beset by the rather wet 
problems of a melted polar icecap. David 
Twohy scripted. 

Twohy's also scripting Schockwave. an 
alien invasion thriller that involves — shades 
of The Invaders — proof of alien life. 

Robert Redford may direct the film 
version of Jack Finney's time travel tale 
Time and Again. 

Fluke, James Herbert's novel of a dog 




A TRUNK OF BURNING LOVE 

Forbidden Planet's Leslie Nielsen and lovely Priscllla Presley are back on the 
comedy beat for another Police Squad case, The Naked Gun 33 1/3. 




MAY 1994 #202 

Business & Editorial Offices: 

475 Park Avenue South 
New York, NY 10016 



President/Publisher 
NORIVIAN JACOBS 

Executive Vice President 

RITA EISENSTEiN 

Associate Publisher 

IVIILBURN SIVIiTH 

V.P./Circuiatlon Director 

ART SCHULKiN 

Creative Director 

W.R. MOHALLEY 



Editor 

DAVID MCDONNELL 

Special Effects Editor 

DAVID HUTCHISON 

Associate Editor 

MARC BERNARDIN 

Assistant Editor 

MICHAEL STEWART 

Contributing Editors 

ANTHONY TIMPONE 
MICHAEL GINCOLD 

Consultants 

TOM WEAVER 

KERRY O'OUINN 



Art Directors 

JIM MCLERNON 

LEN H. LEAKE 

Art Staff 

YVONNE JANC 
EVAN METCALF 



West Coast Correspondent 
MARC SHAPIRO 



Production Chief 

PAUL HALLASY 

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Hirsch, Michael McAvennie, Maureen McTlgue, Joe 
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(Chicago) Jean Airey, Bill Florence, kim Howard 
Johnson; (Boston) Will Murray; (VA) Lynne Stephens; 
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knowles 11; (FL) Bill Wilson; (WV) John Sayers; (Canada) 
Peter Bloch-Hansen, Mark Phillips; (England) Stan 
Nicholls, Adam Pirani; (inter) George kochell, Michael 
J. Wolff; (Cartoon) kevin Brockschmidt; (Booklog) 
Scott W. schumack. 

Contributors: John Archer, Denise Baibier, Buddy 
Barnett, Steven Eramo, Terry Erdmann, Jennifer 
Freeland, Eileen Gonzalez, Gary Cuzzo, Doug Hart, Vic 
Heutschy, Penny Kenny, James D. Kester, Hildy 
Mesnik, Juanne Michaud, Eric Niderost, Lia PelosI, 
Tom Phillips, W.C. Pope, Ken Rand, Tony Tollin, Jeff 
walker. Christian Waters, David Wolverton, Michael 
Wright. 

Cover Photos: X-Flles: Copyright 1994 Fox 
Broadcasting Company; Jedi: Frank Connor/Copy- 
right 1983 Lucasfilm Ltd. 



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Advertising Director: f?ita Eisenstein 

Classified Ads Manager: JoAnne Sanabria 

For West Coast Advertising Sales: Jim Reynolds, 

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STARLOG/May 1994 



THE 





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who dreams of his long-ago Hfe as a man, is 
filmbound. Carlo (Flight of the Innocent) 
Carlei — who'll direct — and James Carring- 
ton co-scripted. 

United Artists is once again developing a 
film called Micronauts. Trilogy Entertain- 
ment (writer/producers John Watson, Pen 
Densham and Richard Lewis, the folks be- 
hind Robin Hood: Prince of Thieves. Back- 
draft and Space Rangers) is fashioning this 
one. It follows another Micronauts project 
that ex-Bond producer Harry Saltzman had 
in place almost 20 years ago. That Micro- 
nauts came very close to filming, crew 
members were hired, some sets designed and 
built and the movie at least partially cast 
when it was cancelled before cameras ever 
rolled. A later Micronauts toy line, in turn, 
begat a long-running Marvel comic. 

Peter David is scripting a TV movie 
sequel for the Fox Network; Big Trouble in 
Little China 2. 

MGM has acquired film rights to Harlan 
Ellison's novella "Mefisto in Onyx." 

Kate Wilhelm's Nebula-winning short 
story "Forever Anna" is being mounted by 
Castle Rock Entertainment. Chris Burch has 
scripted the fantasy love story. 

Love gets a bit apocalyptic in Broken 
Dreams, a tale of romance in post-nuclear 
holocaust times. Neil [The Crying Game) 
Jordan and John (E.xcalihur) Boorman co- 
scripted. Boorman will direct. 

For director Kathryn {Near Dark) 
Bigelow, it's Strange Days. She'll helm the 
futuristic erotic thriller written and produced 
by (former husband) James Cameron. 

Species is a SF action film in which a 
lab-created woman goes on your typical 
Frankensteinian murderous rampage. Dennis 
Feldman scripted. Frank {Cool World) Man- 
cuso Jr. is producing. 

Dragonheart is the story of a knight's 
quest to destroy a dragon. He ends up team- 




FAIRY TALE PRINCESS 

Han Christian Anderson's Thumbelina gets animated in the new film from Don Bluth. 
Jodi Benson — who also voiced Anderson's The Little Mermaidior the Disney 
adaptation — Is Thumbelina. 



ing with the dragon to confront the tyranni- 
cal king. Richard {Lethal Weapon) Donner 
isn't going to be directing this fantasy after 
all. Looks like Rob {Dragon: The Bruce Lee 
Story) Cohen will helm it instead. 

New Line Cinema is developing Portal. 
It's an original screenplay by Michael 




HEY, KIDS! BUY THIS! 

And Terminator 2's Edward Furlong does, ordering that nifty new video game 
Brainscan out of the mall order pages of our sister magazine FANGORIA. Does it 
drive him to murder or Is that new hi-tech killer, the Trickster, actually on the 
rampage? Detective Frank Langella Investigates in Brainscan (now in theaters). 



Browning focusing on a future science pro- 
ject to bring a man back from the dead. 

Frank {Arachnophobia) Marshall will di- 
rect Michael Crichton's Congo, adapted by 
Mike Backes (who co-scripted Rising Sun 
with Crichton). Kathleen Kennedy, 
Marshall's partner, will produce for 
Paramount release. Shooting may start in 
September. 

Comics Scene: Kennedy and Marshall 
are teaming with Paramount Pictures and 
Nelvana to create several new animated 
films. Among them; The Sign of the Sea- 
horse (a S20 million version of Graeme 
Base's children's story; script, music and 
lyrics by Base, directed by Nelvana's Clive 
Smith) and The Thief of Always (adapted by 
Clive Barker from his own book, directed by 
Robin Budd). 

After a long period of uncertainty, John 
{Conan) Milius will be directing Sgt. Rock. 
He also scripted. 

Character Castings: Timothy Dalton 
follows in Clark Gable's footsteps as Rhett 
Butler in the Scarlett mini-series sequel to 
Gone With the Wind. Colm Meaney plays 
Scarlett's relative, a priest. 

Also in Maiy Shelley's Frankenstein are 
Tom {Amadeus) Hulce, Ian {ALIEN) Holm 
and Cherie {Excalihur) Lunghi. 

There's another Frankenstein spoof being 
planned; Frank. Larry (M*A*5*//) Gelban 
and Andy Breckman scripted. 

Three veteran Klingons are revisiting the 
Star Trek Universe. John Colicos ("Errand 
of Mercy"), William Campbell ("The 
Trouble With Tribbles") and Michael 
Ansara ("The Day of the Dove")— all 
interviewed in STARLOG #138 about their 
Klingon past — return as aged, over-the-hill 
Klingons in "Blood Oath," just now 
airing. This trio of "Klassic" Klingons 
get to indulge in some sentimental skull- 
duggery on board Deep Space Nine. 

— David .McDonnell 



STARLOG/Mav 1994 



42 1 4^^^^H^^ 






STAR nek : 

N£Xr GENBRATION 



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second showing the logo 
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SPACE NINE, ihe 25th 
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ALL RIGHTS RESERVED. STAR TREKS is 
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Starlog auttiorized user. 



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NEXT GENERATION 

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Stewart (Picard) SI 29.95 

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Meaney (O'Brien) S119.95 

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NEW FORCES AT WORK 

It is a dark time for tlie Rebellion. You de- 
stroyed the Death Star in LucasArts 
Games' Super Star Wars, but The Empire 
Strikes Back on the Super Nintendo 
(359.95). Starting this 12-megabit cart as the 
lightsaber-wielding Luke Skywalker. you'll 
first brave the icy world of Hoth — on both 
foot and Tauntaun — and encounter various 
creatures like the Wampa Ice Beast. Jump- 
ing into your snowspeeder, you'll defend 
your Rebel base from advancing AT-AT 
Walkers, then enter and stop one from 
within... hopefully. 

Next, as Han Solo, you'll fight off the 
Emperor's forces and make your way 
through to the Millennium Falcon, where, 
once inside, your only chance to lose the 
Imperial troops on your tail is to maneuver 
your ship through an asteroid field. Then, 
it's off to Dagobah, where, as Luke again, 
your quest to find the Jedi Master Yoda and 
learn the ways of the Force will be 
interrupted by the likes of the swamp 
creature Habogad. Meanwhile, choosing 
between Han or Chewbacca. you'll search 
for Lando Calrissian in Cloud City, a trip 
you'll later take as Luke, which eventually 
leads to a final battle with Darth 'Vader. 

Once again, LucasArts scores big with 
the Star Wars saga, following up last year's 
award-winning cart with another great game. 
The Empire Strikes Back isn't necessarily 
better than Super Star Wars (Luke's jumping 
ability can be hard to control and is an- 
noying at times, not to mention the fact that 
the lightsaber should be a little more power- 
ful), but it's not far off the mark. Again, the 
graphics throughout the 25 levels are top- 
notch (utilizing Mode 7 effects for first- 
person perspective segments on the 
snowspeeder. Millennium Ealcon and X- 
wing), as are the sound and special FX. It 
also adheres closely to the story, like its pre- 
decessor, but shows creativity with the addi- 
tion of creatures and "bosses" not seen in the 
movies. Let's hope the Empire — and Lu- 
casArt^^flM^^^^trike back again with 
Super ^^^ff/l^^^ Return of the Jedi. 



.JTAR-WARf 

MINIATURES 
BATTLES ^ 





Think big in Star Wars Miniature Battles. 

IBM users looking to embark on a Tour 
of Duty can do so in the new B-Wing 
(529.95), the second sequel to LucasArts' 
brilliant hit simulator game, X-Wing 
(369.95). If you survived Imperial Pursuit 
(329.95), the first sequel, you'll know that 
Darth "Vader is really cheesed at the Rebel- 
lion, and plans to destroy them at any cost. 
The Alliance, however, is ready for him with 
its latest addition — the Slayn & Korpil B- 
wing heavy assault starfighter! It may not be 
as maneuverable as an X-wing, but it can 
certainly hold its own out there, which you'll 
discover as you learn how to fly this new 
baby in the Pilot Proving Ground. In addi- 
tion to six new historical dogfights to test 
you against Imperial ships, there are 20 new 
deep-space missions to undertake. 

Time may be running out for the Rebels, 
but B-Wing continues to offer the time of X- 
Wing users' lives. Powerful graphics high- 
light this Tour of Duty, as well as the game's 
cinematic action sequences, which offers 
music and sound FX from the Star 
Wars movies. A Top Ace Pilot option 
enables users to view any Tour of Duty cut 
scenes, and you can fly all X-Wing and 
Imperial Pursuit missions in any order. 
Please note: B-Wing comes at a lower price 
tag than X-Wing, but the point is moot, since 
you need X-Wing in order to sign up. 

In the meantime, check your IBM and 
friends — or, better yet, Checkmate 'em with 
The Software Toolworks' Star Wars Chess 
(S69.95). Be a Rebel or join the Dark Side as 
you indulge in your own Star Wars on the 
chessboard. Offering 72 cool "capture" 
animations, you can see your favorite 
characters "force'' each other off board 
spaces. Engage in a lightsaber battle 
between Luke Skywalker and Darth "Vader. 
or have Chewbacca use his crossbow to take 
down a stormtrooper. 

Of course, some of our heroes had a past 
before becoming involved with the Rebels. 
Han Solo and Chewbacca were two of the 
most famous smugglers in the galaxy, and 

Relive the adventures of Han Solo and the 
Corporate Sector. 



made their share of enemies both within and 
outside the Empire. Relive their thrilling 
days of yesteryear in the worlds of tomorrow 
with West End Games' Star Wars: Han Solo 
and the Corporate Sector Sourcebook (320), 
a 142-page hardcover guide based on the 
Brian Daley novels Han Solo at Stars' End 
and Han Solo's Revenge. 

Let the Millennium Falcon take you to 
the Corporate Sector, which the sourcebook 
describes as "a no-holds-barred, chartered, 
limited free enterprise fief." .Although the 
Empire's influence is almost non-existent in 
the Sector, there are plenty of thieves, and 
certainly no honor — just the kind of place 
Han and Chewie fit in. The Sector is ex- 
plained in detail in the sourcebook, as is the 
history of the Corporate Sector Authority, 
how it works and how to make yourself 
some credits. 



THE SOFTWARE 
TOOLWORHIT 3 
-STAR. /TV 

WARS' ' ? i 




Check your mates in Software Toolworks' 
Star Wars Chess. 

For those of you interested in creating 
some small-scale RebelAmperial battles, try 
West End's Star Wars Miniature Battles 
(318). This revised version of the original 
Miniature Battles has been updated to be 
compatible with Star Wars: The Roleplaying 
Game. Second Edition, though the role-play- 
ing game isn't necessary for playing. The 
1 10-page book allows two or more players 
to assemble an army of Star Wars miniature 
figures (which are also available at local 
games shops), ranging between six to 60 
soldiers, and battle each other over tabletops 
which represent battlefields such as the 
forests of Endor. Tatooine's deserts and the 
ice world of Hoth. Using troop lists, refer- 
ence sheets, templates and markers, players 
engage in close assault combat, seeking final 
victory and control of the galaxy. 

With this updated version of Star Wars 
Miniature Battles, players' troops have a 
greater Movement Rate, and all combatants 
now cost a greater amount of Squad Gener- 
ation Points. The charts, tables and record 
sheets have also been improved, allowing 
gamers to make their Star Wars as grand- 
scale as they want them to h>e. 

— Michael McAvennie 



Due to the large volume of mail, personal 
replies are absolutely impossible. Celebrity 
addresses can not be given out. Mail can 
not be forwarded. Please do not make any 
such requests. They can not be fulfilled. 
Absolutely no exceptions. Other fans & 
advertisers sometimes contact readers whose 
letters are printed here. To avoid this, mark 
your letter "Please Withhold My Address." 
Otherwise, we retain the option to print it. 
Write: STARLOG COMMUNICATIONS 

475 Park .Avenue South, 8th Floor. 

New York. NY 10016 



REVIEWING THE SITUATION 

...I would like to comment on Booklog. Your 
writers seem to be too hard on most of the books 
they review. I read The R/«,? of Winter by James 
Lowder. which your magazine gave a bad review, 
and I didn't think it deserved it. 

An improvement that could be made is the 
institution of a point system that ranges from 
good to bad. Booklog is the only thing in your 
entire magazine that could be changed. Your 
interviews are beautifully done, and you have a 
large number of subjects that deal with SF. There 
is not another magazine in the country that I have 
read that has come close. 

Derek Birosak 

Villa Park. IL 

W'l? have no plans to institute a point system in the 
Booklog reviews. However, our reviewers^] ean- 
Marc Loffider. Scott Srhumack. Penny Kenny and 
Micltael Wolff (to he joined soon liy others h-fre- 
quently do recommend specific volumes. 

...Thank you for the interview with Richard 
Hatch in #196. Battlestar Galactica was a great 
show, appealing to my emotional side while Star 
Trek appeals to my intellectual side. I see that 
Hatch has submitted a new script for a Galactica 
movie to Universal. I have sent a letter to Univer- 
sal in support of a new Galactica movie, and en- 
courage all of you fans out there to do the samel If 
enough of us express an interest. Hatch will have 
a better chance! The address for Universal Studios 
is: 70 Universal City Plaza. Universal City. CA 
91608. Show your support. Galactica fans! 

Christopher L. Johnson 

2025-B N Main Street 

Mount Airy. NC 27030 

...In response to your interview with Richard 
Hatch (#196). his proposal of a follow-up Bat- 
tlestar Galactica project is an exhilarating idea. 
The original series (let's forget that Galactica 
1980 even aired) remains in a class of its own as 
the monarch of hardware-heavy T'V SF. Not even 
Back Ro.ners (which suffered from a heavy case of 
the cutes) could match it in scale. Galactica }usi 
exploded out of the tiny confines of television. It 
encompassed (sometimes all too literally) the best 
elements of our cultural heritage: the outcast 
handful of survivors driven into the wilderness is 
an archetypal standard in all mythologies (and is 
still happening now in many nations). But the sto- 
ry's sheer immensity was its most compelling 
component — a haunted military commander 
driven to abandon the cradle of his civilization, 
instead forced to face the infinite unknow ns of a 
voyage that neither his aging battleship nor its 
war-wearv crew were fully prepared to undertake. 



,M1 with a heavy dose of classic man vs. machine 
neurosis to boot! 

My enthusiasm might sound monstrously 
simplistic, but this series touched a certain pan of 
my imagination when it aired in my youth — and 
even today, as a strong supporter of intellectually 
challenging programming (a category under 
which The Ne.vt Generation, at its best, generally 
falls) there is still that primal tug for the Blazing- 
Vipers world of Galactica Diplomacy and a 
setting that's not as user-friendly as Gene Rodden- 
berry's creation. So it is with great personal 
investment that I wish Hatch the best of luck, 
and — oh. if I could only contribute! — hope 
Universal's executives are a bit more open this 
decade to conclude the story as it desenes to be 
concluded. 

Brice R. Parker 

P.O. Box 721025 

SanJo.se. CA 95172-1025 

ALIEN HATREDS 

...Listening to Dr. Bones McCoy's dry antebel- 
lum ramblings about pointy-eared green-blooded 
Vulcans on syndicated TV seems hannlessly nos- 
talgic now. even considering they were made at a 
time when real Americans were out on the streets, 
demanding change from an openly racist society. 

Star Trek was a vanguard television program 
that was probably the first of its kind to pro-ac- 
tively depict people of color and many other 
races, even non-human ones, as individuals mak- 
ing valuable members of a team. In that same 
context, people of different interstellar races were 
not always allies, but all seemed to possess dig- 
nitv. as in Mark Lenard's portrayal of a Romulan 
officer. The future world of Star Trek was also set 
at a time where a grand reconciliation of human 
races had been achieved at the cost of a worldwide 
Eugenics war. 

Watching Star Trek: The Ne.vt Generation and 
Star Trek: Deep Space Nine has been a new and 
different experience for me. In fact, after watching 
it regularly for the last few months. I would say 
that Star Trek was as much a miiTor of the pro- 
gressive aspirations of the '60s as ST:TNG and 
especially ST:DS9 are reflecting the regressive 
neo-racist undercurrent that permeates the shad- 
ows of worldwide society in the '90s. 

The primary example of that new undercurrent 
found on both shows can be summed up m one 
word: Ferengi. 

Only in Looney Tunes cartoons from the '30s 
have I found similar characteristic representations 
of a people as avaricious and simian. Only in Nazi 
propaganda films from the same period have I 
seen depictions of a race as cunning and mali- 
ciously greedy. 

Only last night w alching Deep Space Nine did 
I see a father. Commander Sisko. tell his son that 
"Human values and Ferengi- values are very 
different. We have never been able to forge a 
common bond." Upon hearing that a Ferengi 
delegation was arriving at the station. Major Kira 
quips. "My advice is to hide the silverware." The 
Grand Nagus of the Ferengi later extoUs his 
cronies. "Our reputation precedes us. We are not 
to be trusted." 

Because this is a non-existent race we're talk- 
ing about. 1 suppose that having a constantly de- 
spicable, predictable, mischievous, diminutive and 
ugh bunch of characters around that we all love 
iodespi.se is OK. ..right'? 




Had this been a program of a contemporary 
terrestrial setting, characters and subject matter. 
with these overtones, would it have j;/7/ been OK'.' 

I have seen the same attributes that these Fer- 
engi possess today lent maliciously to real races in 
foreign propaganda films of the past to drive ma- 
chines of hate abroad, and domestic "entertain- 
ment" films to build walls of division at home. 

Powerful programs of today like Ne.vt 
Generation have a very broad cross-cultural 
influence among people around the world. .Any 
Trekker knows that. 

I believe that to show any race, real or imag- 
ined, to be one-dimensionally malevolent is 




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The Srar Trek series has historically inspired 
imaginations and aspirations — both old and 
young. Especially the young. 

Let's not taint Star Trek'n enduring bold vi- 
sion of our future with dark and dreadful notions 
of our past. 

M. Cla\'ton FaiTington 

1 043 Imperial Beach Boulev;)rd 

Imperial Beach. CA 91932 

...Thanks for another thought-provoking issue of 
your magazine. #198. Here are a few odds and 
ends I would like to share with you; 

In regards to Joe Simko's letter, the I.D.I.C. 
idea in Star Trek came about after the shovs was 
initially created, and was nothing more than a 
blatant marketing ploy by Gene Roddenberry — 
nothing more, nothing less. This has been men- 
tioned in several Trek books, most recentl\ in 
William Shatner's Star Trek Memories. 

A note to Toni Mansry, in response to her let- 
ter: I — and I'm sure a few others — have written 
Robert Williams directly (since his address was 
included w ith Ins letter), and mentioned the same 
thing Toni did. A week after mailing my letter, 1 
received a very polite thank-you card, where 
Williams promised to collect all the responses he 
received, and put together a cohesive response. 
Both of us kept our letters very polite and civi- 
lized, and I am looking forward to his reply. 

While I will not begrudge anyone their view- 
points, I take exception to those who are so nar- 
row-minded and inflexible that they are either 
unwilling or unable to consider others' views. It is 
open-mindedness which seeins most exemplified 
in all forms of Star Trek. 

In the various SF clubs I have been in (some 
of which I founded, and date as far back as my 
high school days), the members would quite fre- 
quently point out problems in a given ston'. After 
discussing it, we would go a step further and 
develop amongst ourselves solutions or improve- 
ments. Without doing this, our discovery of 
problems would be no better thaji nit-picking, 
fault-finding or whatever other derogatory label 
you care to put on that practice. It is this which 
most people seem to be doing in Communications. 

Having worked in research and development 



feaTOR#WE|J,^„.^,,j^ 




t^£fe_J.,i^^^H! 



'ji^\vi'X \ < 



It says * t>o nof retncve -tiois iag uvide r 
pehaLfy o-fcMise." 



for nearly 10 years in a major electronics com- 
pany, I know how important it is to discuss prob- 
lems in a forum; there is no better way to develop 
solutions, I think it's unfortunate that most people 
who write to you stop short of that very \ital 
second step. 

Klaus Spies 

8502 N. Oketa Avenue 

Niles.IL 60714-2006 

VIOLENCE & BORG 

...While Dayton Kitchens may well be correct in 
a few of his criticisms of Tlie Ne.xi Generation, he 
is way off about the Borg. He wonders why the 
producers could not "be able to produce a good 
story featuring the Borg once or twice a year." A 
little common sense tells you why. He assumes 
that money was the reason why the Borg were 
used so seldom. There was. apparently, a much 
different reason. Now the Borg is unique among 
Srar Trek antagoni.st races. The Klingons, the 'i, 
Romulans, the Ferengi and the Cardassians are 
basically "human," That is, their capabilities, 
emotions and intentions are not too different from 
humans. They are clearly analogous to such hu- 
man societies as the Third Reich and the Soviet 
Union. The Federation can fight them as equals 
and they will put up a good fight before they are 
defeated. But the Borg are non-"human" and more , 
analogous to auch Dr. Wlio villains as the Daleks 
or the Cybermen. .As originally written, the Borg 
were clearly superior to the Federation in capabili- 
ties. They could not be fought as equals and could 
not be defeated. They were as above the Federa- 
tion as a modem hi-tech army would be above. 
sa\', a tribe of Australian hushmen. The only way 
out for the Federation was to beg Q for help. 
Clearly, this race could not logicalK' be used again 
unless the producers planned something along the 
line of the "Blake" episode of Blake's 7 and killed 
off everyone. When the Borg were brought back 
in "Best of Both Worlds," the writers did not 
know how they would be defeated in pan two. In 
my opinion, "Best of Both Worlds" is anything 
but the great show Kitchens claims it is. The jerry- 
rigging in part two is too obvious. So, they wrote 
themsehes into a comer again. Now. instead of an 
undefeatable enemy, they have one too easy to 
defeat — just put them to sleep. Now that they 
have an antagonist who can be defeated in five 
minutes, what do they do with the rest of the 
hour? So much for "a good storx' featuring the 
Borg once or twice a year," After "Best of Both 
Worlds," it cannot be done. The solution to this 
problem the writers finally resorted to was to 
"humanize" the Borg and reduce them to the 
Federation level ("I. Borg" and the "Descent" 
two-parter). What would Kitchens have had them 
do with the Borg after "Best of Both Worlds" 
reduced them to pushovers"? 

Donald .Alan Webster 

3289 N, Fulton ,Avenue 

Hopeville, GA 30354 

...In STARLOG #196. Dayton Kitchens' letter 
seems to be suggesting more "shoot-'em-ups" for 
Star Trek: The Ne.\t Generation. Does he not un- 
derstand the philosophy of this series'? I seem to 
remeiTiber a quote from Gene Roddenberry thai 
stated that "Starfleet is not a military organiza- 
tion'' (my emphasis). It appears to me that 
Kitchens should perhaps re-evaluate his under- 
standing of what Star Trek is about. The Trek phi- 
losoph\'. as far as I understand it. has always been 
about peacefully exploring the galaxy in search of 
new life and new civilizations (I know I heard that 
somewhere in the opening credits). I don't recall 
any mention of blowing them to smithereens once 
we meet thein. 



-This copy i&..- 

iRREi.evANT..Kt-TVf& 
OE 86... 

..ASSlMit.AfeP 




Kitchens' attitude toward the show scares me. 
He wants to. and I quote, "see the Cardassians get 
what they deserve" and is overly concerned with 
when and how many times the Enterprise has 
fired on a Romulan ship. Does more violence 
equal more action? 

Violence begets \iolence. I know it does in the 
20th century, but I thought Star Trek told us that 
in the future, we would be able to settle our differ- 
ences without resorting to violence. What a shame 
that Kitchens is apparently unable to envision a 
future where this might exist or watch a TV show 
that portrays it as such. 

Perhaps he should try dealing with his general 
hostility and thirst for violence by doing what the 
letter following his suggested. As James D. White 
wrote in the same issue, "no one is forcing you to 
w atch something you don't enjoy." If a TV series 
is causing this much frustration, perhaps it would 
be best to pursue other hobbies in life. .And 
maybe, just riiaybe. calm down a little. 

George Eichler 

Address Withheld 

...Nazis and Jews. White men and Indians. Hu- 
mans and Borg. See a pattern? I have been 
amazed by some of the statements made by 
STARLOG readers regarding the Ne.xt Generation 
episode. "I, Borg." It's discouraging to read that 
some fans believe we are the only important life 
form and if we don't approve of another kind, we 
have the right to get rid of it. The goal of Star 
Trek is to "seek out new life and new 
civilizations." Where is it then stated. "And 
obliterate anybody we don't like!'"? I must have 
missed that part. 

I'm not saying the Borg are wonderful and 
non-threatening, but Star Trek is also about get- 
ting past the idea of ".All (whatever) are alike!" 
That's what is encouraging about Star Trek — the 
vision that someday we'll finally get beyond that. 
I think "I, Borg" was one of the best episodes for 
this \er\' reason. The Borg had their own culture. 
It didn't happen to agree with ours, but cultures 
evolve (when was the last time you were wearing 
animal skins and dragging a club'?) and it is possi- 
ble that given the right stimuli, a Borg would 
realize a difference and inspire change. To our 
knowledge, no Borg had previously been 
separated from the collective for a few days. A 
new experience — new stimuli — possibility of 
change. 

There is also a question the episode raised in 
my mind that wa.snt ever addressed. In "Best of 
Both Worlds. Part I. " Riker revealed that the Borg 
start out as humans and the mechanical imple- 



12 



STARLOG/Mav J994 



ments are attached later, implying that the Borg 
are human in the first place. If Picard hadn't been 
rescued, he probably would have been left as a 
Borg the rest of his life. Like Picard. is it possible 
that Hugh and maybe others weren't originally 
Borg but were hapless victims from a ship or 
colony that the Borg attacked? If Hugh had been 
captured at a \oung age. he might not remember 
any other lifestyle. Why would Picard have to be 
the only one'? It's an interesting possibility. 

I don't expect to change anyone's opinion of 
the episode, but it would be nice to possibly re- 
mind people of the ideal of Star Trek. Yes. there 
will be "bad guys" and some of them won't 
change, but to immediately assume someone is 
"evil" just because they belong to a certain race or 
species is narrow-minded and destructive. It's the 
kind of thinking that keeps the future depicted in 
Star r;x'A- just a dream. 

Katherine Hayes 

Austin. TX 

...I had not realized the syndicated Highlander se- 
ries was doing so well in the ratings. It must have 
been garnering a huge audience to be able to 
alienate half its public with one stupid show of 
contempt. 

The episode to which I refer is the one which 
ends with the senseless and unheralded murder of 
the series' heroine. Tessa Noel. I don't know what 
backstage decisions went into writing out the 
character. It may have been a matter of paying one 
less actor, or a personal decision on Alexandra 
"Vandemoot's part, or the result of backstage poli- 
tics. I do feel that the most likely explanation was 
the desire to remove a strong female character so 
she would not interfere with the bonding between 
the male "buddy" stars. 

Do the proclucers have so little respect for the 
writers' and actress' creation of Tessa that they 
consider her to be instantly forgettable? Do the 
writers actually feel Tessa was written out in a 
satisfactorv way? Is the production staff's opinion 
of the audience so low that we are expected to 
swallow anything they toss to us? Is there a gen- 
eral contempt for women which makes even the 
best a burden? Is there a distaste for heterosexual- 
ity which doomed the best-written, most touching 
love affair on TV? 

Here we reach the heart of my complaint. If 
Highlander is not to be a "decapitation of the 
week" show, Tessa and Duncan are the human 
factors which matter most. It was commendable to 
see Tessa draw the tenderness from Duncan and 
see him kindle the strength in her. Theirs was a 
good relationship. It was real, sexy, humorous, 
touching and convincing. To hold the show to- 
gether with a buddy relationship or to introduce 
the bimbo of the week is a fearful step downward. 

I take some scant comfort from the fact that, 
thouah we saw Tessa shot, we did not hear her 



pronounced dead. It gi\es me hope that she may 
yet be written back in — a cheap trick, to be sure, 
but much more honorable than the alternative. 

M..A. Kisiler 

2382 Park #10 

Cincinnati. OH 45206 

STATION REPORTS 

...I am writing in response to Jim Lawson's letter 
in STARLOG #194. I wholeheartedly disagree 
with his statements. First, there is the comment 
that DS9 has none of the optimism that the origi- 
nal Treki had such as overcoming jealousies, ha- 
treds and fears to work together. 

First, the jealousies. I have found no real jeal- ^ 
ousies in any of the main crew meinbers of any 1 
kind and I have reviewed the show thoroughly, % ^ 

Second, the hatreds. Yes. hatreds have existed ■§ .c 
in DS9. but Lawson has written himself into a cor- 
ner. He claims that the main characters are not 



Untrue, look at two i;--., - 




working pa.st their hatreds. 

examples: "* 

In "Emissary." Commander Sisko himself has 
to overcome grief and hatred over his wife's 
death. With the help of the aliens in the Worm- 
hole, he overcame both his grief over Jennifer 
Sisko and his hatred towards Picard. .A second ex- 
ample is "Duet." Major Kira must overcome her 
own pain and hatred to uncover the truth behind 
Marritza's identity, which she does, and in the end 
she learns, albeit painfully, how to overcome her 
hatred to see the truth. 

Lawson also criticized the characters them- 
selves. First, there is Benjamin Sisko. who 
Lawson referred to as lacking command presence. 
Avery Brooks is a good actor and does carry a 
strong lead but it is a different type of lead than 
William Shatner or Patrick Stewart had to carry. 
Their characters each had an advantage over 
Sisko. Kirk and Picard serve on Federation vessels 
under Federation control. Officers on their 
respective ships have taken an oath to follow 
Starfleet rules and regulations. The Bajoran 
officers on DS9 have no such promise to uphold. I 
agree that Sisko has had to make several 
compromises in his tour of duty on DS9, but I 
don't think he's being led around as described by 
Lasvson. He must make the best compromises he 
can with the officers that he serves with and that 
does not detract from his command ability, but 
rather shows a command quality not stressed too 
greatly in the first two Treks. 

Next to be put down was Kira, who was de- 
scribed as "Yar revisited." I agree that both char- 
acters had violent backgrounds and were strong 
women, but that is where the similarities end. Kira 
may have the "shoot first" instinct in her. but it 
exists because she has been so wounded by the 
Cardassian occupation that it's only natural. But 
episodes like "Duet" and "Progress" show that she 
is changing. 

Dr. Bashir is hardly one-dimensional. He rep- 
resents a ver\' intelligent yet inexperienced officer, 
and he helps show that all the officers we've come 
to know and love were all a little quirky at one 
point in their career, but they learned later how to 
deal with the new situations put up to them. He is 
doing the same: take a look at "The Forsaken" and 
see how he deals with his assignment. 

DS9 is not a more negative view of the future. 
It's a view of the future where people who start 
out with almost no similarities or relationships 
learn how to work together in incredible situa- 
tions. It is a future where hatreds, jealousies and 
fears are overcome. Sounds like Gene Rodden- 
berry's vision to me. 
Benson G. Yee 
3 19. 3rd Street 
Brooklvn. NY 11215 




7?f ORPINARY PEOPLE £NCOUNTER£0 
^ ALTBRNATB REALITIES 



. . .Through all my years of watching Star Trek, I 
have never been stimulated enough to put pen to 
paper with my own commentary on an episode 
until now\ Recently, I saw the Deep Space Nine 
episode "Duet," which featured a visit by the Car- 
dassian Marritza to the station. From the onset. I 
was captivated. What began as an obvious parallel 
to the Nazi concentration camps of World War II 
evolved into a riveting story about the conscience 
of the enemy and the transformation of the op- 
pressed's mind. In the last 10 or so minutes of the 
episode, Hams Yulin (Marritza) and Nana 'Visitor 
(Major Kira) show us some of the finest acting 
Star Trek has ever seen (save that of Patrick Stew- 
art in Next Generation's "Chain of Command 1 & 
n"). Marritza's sense of responsibility and agoniz- 
ing regret over his failure to end the Cardassian 
atrocities at the Bajoran slave labor camps is a 
side rarely shown of such an enemy. Kira's ulti- 
mate willingness to forgive at least this Cardas- 
sian shows not a weakness but a greater strength 
within herself. 

I boarded DS9 with much skepticism and 
w ariness. but if shows to follow are going to be as 
exciting and poignant as this one. I think I'll ask 
Quark to save me a spot on the Promenade. 

Timothy J. Moore 

720 Harbor Place 

Brick. NJ 08724 

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13 




COMPLETE JUDGMENT 

Four Red Ditw/videocassette collections 
have just been released by CBS/Fox 
Video priced at SI 9.98 each. Currently air- 
ing in America on some PBS stations. Red 
Dwarf has spawned a huge cult following as 
well as two bestselling novels. The program 
has also garnered several prestigious honors, 
including the British Science Fiction Award 
and Royal Television Society Award. Each 
of the four videocassettes presents three 
complete, unedited TV episodes; look for the 
original pilot episode at the first volume's 
end. 

MCA/Universal Home Video has pack- 
aged six segments on three videocassettes of 
the short-lived animated TV series Family 
Dog. Originally created as an episode of 
Steven Spielberg's Amazing Stories, the idea 
seemed a natural for further life in TV series 
land. Delayed and reworked several times 
before briefly airing last season, the Tim 
Burton-designed characters never seemed to 
live up to their promise and the series was 
quickly dropped. Cassettes are VHS Dolby 
HiFi stereo. S12.98 each. The entire series is 
also available on laserdisc as a boxed set. 
389.98 complete. 

Fans of illustator Hudson Talbott's series 
of stories about dinosaurs with artifically- 
boosted intelligence paying a visit to the 
20th century will be hard-pressed to recog- 
nize any similarity to the original in Steven 
Spielberg's animated film version of We're 
Bac±! A Dinosaur's Story. Aniinated in 
London by much of the same team which 
created Fievel Goes West. We're Back fol- 
lows the story of Louie, a New York street 
kid, who has run away from home because 
his mother kisses him in public, and his little 
red-haired girl friend, Cecilia, who's lonely 
because her parents are always out night- 
clubbing. The pair find mutual solace when 
they team up with their new dinosaur 
friends. Rex. Elsa. Dweeb and Woog. who 
are visiting Earth in response to messages 
intercepted by Wish-Radio. Curiously, this 
story is told in flashback as a moral lesson to 
a baby bird who's being being teased by his 
siblings for being a Momma's boy. The 



animation is so-so with lots of bouncy 
movement, but the electronic ink & paint 
hits a new high in garishness. Voices include 
John Goodman. Charles Fleischer. Jay Leno. 
Walter Cronkite. Yeardley Smith. Kenneth 
Mars. Julia Child and Martin Short. Both the 
laserdisc and the VHS HiFi stereo videocas- 
sette are priced at S24.98 retail. 

Both Howard the Duck and Harry and 
tJie Hendersons have been repriced by Uni- 
versal Home Video to SI4.98 in VHS. 

Robert Burke dons the familiar blue-and- 
silver cybersuit in Fred Dekker's RohoCop 
3. due out this month from Orion Home 
Video. Close-captioned in VHS HiFi stereo, 
RoboCop 3 is priced for rental. 

If you were lucky enough to receive Pio- 
neer's deluxe edition of Terminator 
2: Judgment Day for Christmas, you're 
probably still working your way through the 
fabulous riches that have been included as 
supplementary materials. Where Fox 
Video's recent Collector's Widescreen 
Edition of the Star Wars Trilogy is a model 
of how not to produce a deluxe set — with 
what has got to be the year's biggest 
disappointment (see STARLOG #198)— 
Pioneer and Jim Cameron's staff at 
Lishtstonn have gotten everything right and 
then some. 

Though there have been three previous 
editions of T2 on laserdisc — both CLV & 
CAV widescreen and a cropped fullscreen 
transfer — this latest edition really makes 
Adam Greenberg's cinematography glow- 
it's a symphony of fire and ice with rolling 
clouds of orange flame contrasting with the 
ice-blue of Skynet's world. The digital 
soundtrack thunders with menace, and seeins 
to come from all directions at once. In addi- 
tion, about 15 minutes have been restored 
from Cameron's early cut of the film. Most 
of the additional scenes deepen your 
appreciation of the characters and are con- 
veniently detailed in the liner notes. 

T2 has been mastered in Multi-Audio, 
which means that the film soundtrack is car- 
ried on the digital tracks, while the analog 
channels carry a mono mix and continuous 
commentary about the film as it unspools. 



Unlike the disappointing Star Wars discs, 
which can onh' grub up a few minutes of 
comments per side and are interspersed with 
long stretches of absolute silence, the T2 
commentary is nearly non-stop. Van Ling, of 
Cameron's Lightstorm. plays host and 
introduces comments from man\- of the cast 
members — including .Arnold Schwarzeneg- 
ger, Linda Hamilton. Eddie Furlong. Robert 
Patrick and others — about their roles and 
their personal challenges. In addition, there 
are appropriate comments from the sound 
designer, EX artists, costumers. art 
designers, location scouts, casting staff, 
stuntmen and makeup anists. It's amazingly 
comprehensive and informative, while 
remaining reasonably chatty and anecdotal 
for entertainment's sake. 

The real meat and potatoes, however, are 
served up on the three remaining CAV sides 
(the film itself is presented in CLV). and it 
will take \'ou many, many hours, if not days, 
to work your wa\' through the extraordinary 
story of the film's production that is so lav- 
ishly detailed. The supplemental section is 
organized more or less chronologically from 
the earliest days of story development, 
research and design, through pre-production, 
casting, location scouting and set construc- 
tion; onwards through six months of 
production detailing props, costumes, 
makeup, location and stage shooting: and 
finally into post-production with all of the 
inajor special FX shops explaining how they 
did that. Other laserdisc productions have 
covered similar topics, but never on this 
scale. Ling and the Lightstorm minds even 
take the trouble to explain in detail how the 
prints were made and how the film's Super- 
35 process works. Final sections detail the 
publicity effort from T-shirts to posters — all 
pictured, even the foreign-language editions. 
You even get to see Linda Hamilton in old- 
age makeup for a planned happy, future 
ending, which never worked out. 

Terminator 2: Judgment Day — Special 
Edition is priced at a bargain $90 in a very 
handsomely designed padded slip case with 
a very sturdy inner liner. This new transfer is 
also available sans supplements for S50 in 
both widescreen and pan-and-scan formats. 
— David Hutchison 




For an extensive look mside Terminator 2: 
Judgment Day, see the Pioneer laserdisc 
deluxe edition. 



14 



STARLOG/iWav 1994 



Only A 
Limited 
Quantity 
Available!, 



Collectibles from the 1970s & 1980sl 






"This IS -^o^iT 
Captain speaking. 








1. Captain Kirk 

Message reads. This is your 
Captain speaking... 10" 
hign. 14 3/4" wide when 
opened. Contains toy 
punch-out of Kirk witn direc- 
tions to assemble. 1976. 
Near Mint. So 95 



2. Mr. Speck 

Message reads. I must be 
hard ofhearing:.. 12 1/2" 
high, 18 1/2" wide when 
opened. Contains toy 
punch-out Vulcan ears. 
1976. Near Mint. $5.95 



3. Enterprise 

Message reads. I'm sending 
you somethino from outer- 
space... 12 l/2"hiah. 18 1/2 
wide when openea Contains 
toy punch-out of the 
Enterprise with directions to 
assemble. 1976. Near Mint. 
$5.95 



STAR TREK 

"Punch-Out" Greeting Cards 

Set of All Three Cards 

Special Price $15.95 



STAR WARS, 

Question & Answer Book 

About Computers 

Very unusual! Very, very 

rare! 1 983 book devoted to 

computers. Cover and many 

illustrations throughout by 

Ken Barr of C3P0 and 

R2D2. 61 pages. Softcover. 

Near Mint. $9.95 



STAR TREK: 

The Motion Picture 

Poster 

Very rare! Colorful Jerome Tarpley art- 
work was a Coca-Cola premium cele- 
brating first STAR TREK movie, but 
was available only in selected 
theaters. Kirk, Spook. McCoy and 
other crew members, with the 
Enterprise in background. Small inset 
illustrations show Enterprise interior. 
1979. 18"x24". $9.95 




BATMAN Set of 6 Cilasses 

This set of 6 drinking glasses, commemorating the 1989 BATMAN film, was made in France for the 
Canadian market and never sold in the United States. 8 oz. size, 4 1/4" high, clear glass. Black and yellow 
illustrations of Batman logo, Batplane, Batman & insignia, Batmobile. Batman & Batmobile. Batman bust. S25 
© 1976. 1979 Paramount Picture:© 1983 Lucasfilm Ltd.:© 1989 DC Comics 



RETURN OF THE JEDI 
Wristwatch 

Bradley watch, quartz movement, 

leather wristband. Watch face 

depicts two Ewoks. In the original 

Bradley display case. Near Mint. $25 



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Rama Revealed by Arthur C. Clarke and 
Gentry Lee (Bantam, hardcover, 480 pp, 

$22.95) 

Regardless of the reasons which led to 
their working together, the collaborations 
between Arthur C. Clarke and Gentry Lee 
have only resulted in watered-down Clarke. 
Not only that, but sequels are an iffy busi- 
ness in themselves. In science fiction, they 
can be unforgivable. 

Rama Revealed follows the further ad- 
ventures of the human colonists within the 
alien-designed Rama III spacecraft. Preju- 
dice and mismanagement from the human 
leaders are raising the possibility of war, and 
a splinter group, featuring the heroes of 
Rama II and The Gardens of Rama, escape 
to the section of the spacecraft housing the 
alien race of "Octospiders"' in the hopes of 
somehow preventing a major tragedy. 

Despite the title, there are no major reve- 
lations to be found here. The story has its 
good moments, but the presence of Clarke's 
name as one of the authors brings false ex- 
pectations of something better. 

—Michael Wolff 




MagicNet by John DeChancie (AvoNova, 
hardcover, 234 pp, $18) 

Skye King's friend Grant is brutally 
murdered by a demon. Grant comes back, 
incarnating in Skye's computer, through the 
power of MagicNet. But MagicNet is com- 
ing under the control of the evil wizard 
Merlin, so Skye and Grant head for LA to 
stop Merlin. But Merlin's expecting them; 
the ghost might not be Grant, MagicNet 
might not be what it seems and reality def- 
initely isn't reality. 

John DeChancie tries to explain Magic- 
Net, but it's just so much techno-magic 



babble. The confrontation with Merlin is a 
confused mess, and the ending is left dan- 
gling. Skye doesn't have a reason for doing 
what he does. There's also a scene involving 
a "willing" rape victim that should have 
been excised. 

DeChancie starts out with a good idea 
and some great banter between Skye and 
Grant, but then he loses it somewhere in the 
middle. Apparently, MagicNet got hold of 
DeChancie's computer and indulged itself in 
an overwritten, illogical story. 

— Penny L. Kenny 

Future Boston edited by David Alexander 
Smith (Tor, hardcover,"384 pp, $22.95) 

This anthology is one of the better exam- 
ples of the "shared universe" format. Eight 
relatively new writers — Alexander Jablokov 
is the best known — have crafted a "mosaic 
novel," a future history of Boston told in 
stories, articles and advertisements. Most of 
the writers worked on two or more pieces 
(Jablokov did nine), sometimes collaborat- 
ing, using an intricate framework with recur- 
ring characters and painstaking attention to 
Boston's geography. 

The book doesn't hold together as a 
novel, but the individual stories are terrific. 
Boston begins sinking socially and geologi- 
cally in the '90s, only to be reborn as Earth's 
gateway to the universe in the 21st century. 
The tales of this transformation range from 
the hilarious first contact yarn "The Ele- 
phant-Ass Thing," by Jon Burrowes to Sarah 
Smith's grueling "Ye Chizens of Boston," in 
which Boston secedes from the union and 
people on both sides of the issue face the 
ultimate price of politics. Between these 
poles are poignant stories of alien-human 
relations, romantic tragedies and glimpses of 
a very strange cosmos. 

— Scott W. Schumack 

Minerva Wakes by Holly Lisle (Baen, 
paperback, 288 pp, $4.99) 

Her husband Darryl is staying late at the 
office (as usual), her three children are fight- 
ing (as usual), an ice storm's on the way (it 
figures) and a dragon just grabbed the last 
box of Wheaties (not so usual). It hasn't 
been Minerva's best day, and it's about to 
get worse. 

Her children are kidnapped, she's stuck 
with a satyr in an alternate reality, her hus- 
band thinks he is going crazy, the bad guys 
and the good guys want both of them dead 
and the universe is unraveling. What's a 
woman to do? Fight back! 

On the Mommy Scale, Minerva falls 
somewhere between Carol Brady and 
Roseanne. It's the wicked things she can do 
with a shopping cart that set her apart from 
the crowd, though. Darryl is less appealing; 
it takes him the first half of the book just to 
get into the swing of things. Still, not every- 
one can readily accept a dragon in the bath- 
room. 

Holly Lisle is occasionally heavy-handed 
with her "don't let go of your dreams" moral 
and she overuses profanity. Still, her book is 
recommended. 

— Penny L. Kenny 



Inferno: A Chronicle of a Distant World by 
.Mike Resnick (Tor. hardcover, 320 pp, 

$20.95) 

Beneath the ironic title is an obvious 
retelling of the grim story of Uganda with 
minimal, unconvincing SF stage dressing 
and no attempt at speculation or satire, and 
that's the book's failing. The history of post- 
colonial Africa has enough horror, violence 
and grotesque humor for 12 novels. And 
Mike Resnick doesn't try. or need to try. to 
embellish events, but why does tribalism and 
too-fast progress change the planet Faligor 
from a paradise to a hell? Resnick doesn't 
offer any insight, and his bald account has 
nothing new for readers even slightly aware 
of recent history. Those who don't glean the 
author's intent will probably just wonder 
why all this madness and massacre isn't 
remotely entertaining. 

— Sc(nr W. Schiiniack 




m 23a^Bp|.futUfEs«Utaeworld'sm|||fan]^i^ndiai 



By Any Other Fame, edited by .Mike 
Resnick (DAW, paperback, 316 pp, $4.99) 

Speaking of fame... 

This is a very clever thematic anthology 
which Mike Resnick (editor of the equally 
enjoyable Whatdunits and an accomplished 
SF writer) has assembled with his cus- 
tomary gusto. The concept is simply won- 
derful: What our world would be like if 
celebrities — such as Elvis, Groucho Marx. 
Walt Disney, Adolph Hitler, and so on — had 
some how chosen divergent paths? 

The answers are contained in 23 mostly 
delightful stories by a variety of writers. To 
quote a few: Barry Malzberg's "Hitler at 
Nuremberg" is a chilling masterpiece; 
George Alec Effinger's "Fifteen Minute 
Falcon." starring Gypsy Rose Lee as a de- 
tective, is a nifty tale, begging for a sequel; 
David Gerrold's "Franz Kafka, Superhero" 
introduces us to the nihilistic Bug Man, 



16 



ST ARLOG/ May 1994 



whose arch-enemy turns out to be Sigmund 
Freud. 

All the stories are clever and worth read- 
ing, if sometimes leaning a little too much 
towards the expository. This is definitely a 
case where the concepts usually more than 
make up for some of the writers" weak- 
nesses. The focus is on 20th century celebri- 
ties rather than on historical figures, which 
gives some of the stories an air of sameness. 
But these are minor quibbles. By Any Other 
Fame is clever and enjoyable to the end. 

— Jean-Marc Lofficier 

Harpy Thyme by Piers Anthony (Tor, 
hardcover, 320 pp, $21.95) 

Gloha, a harpy-goblin crossbreed, is 
looking for the perfect mate. Unfortunately, 
she's the only harpy-goblin around. The 
Good Magician Humphry sends her off on a 
quest with the newly rejuvenated King Trent 
to find her heart's desire (if she could figure 
that out). Besides running into Xanth's usual 
pun-ful hazards, Gloha also develops a crush 
on the very old, newly young and very 
married Trent. Along for the quest are Mar- 
row the skeleton, Metria the demoness and 
Graeboe, an ailing giant. 

Welcome back to Xanth. Piers Anthony 
has taken old characters out of mothballs, 
mixed in new ones, added a generous por- 
tion of his trademark puns and come up with 
an OK story. 

The problem is Gloha. She's an annoy- 
ingly cute and stupid heroine, and as she 
herself notes, she's halfway through the 
book before her adventure really begins. 
Metria is usually lots of fun, but even she's 
speechless in her sappy subplot. 

Not to harp, but Harpy Thyme is a time- 
out in an otherwise fine series. 

. — Penny L. Kenny 

Hot Sky at Midnight by Robert Silverberg 
(Bantam, hardcover, 336 pp, $22.95) 

In this story, the central character is the 
world of the future. Earth has degenerated 
into an ecological hell, ruled by two mega- 
corporations, where people have the option 
of biologically retrofitting their bodies in or- 
der to survive better. Far above, orbital 
colonies provide an avenue of escape to 
whoever can afford them. A diverse group of 
people, including a virtual reality sculptor g 
and a man genetically engineered to see g 
without eyes, become involved in a plot t 
which includes corporate espionage, and g 
builds up to a coup attempt in space. S 

Robert Silverberg doesn't display too % 
much optimism for the human race in this 
tale. It's already too late and the best anyone 
can do is learn to adapt. But Silverberg isn't 
delivering a sermon. Rather, he's only 
shrugging and getting on with the business 
at hand of telling a story. As with Harry 
Harrison and John Brunner, Silverberg has 
molded flesh onto a nightmare, weaving a 
setting which overwhelms the characters and 
is fascinating in its horror. Humanity is fac- 
ing the firing squad, and Hot Sky at Mid- 
night is Silverberg's version of a last 
request. 

—Michael Wolff 



In the Cube by David Alexander Smith 
(Tor, hardcover, 288 pp, $15.95) 

In the Cube takes place in a rather com- 
plex near future where Earth has been dis- 
covered by various races of aliens, who are 
trading with us a little like the Europeans did 
with the Native Americans. Lucrative alien 
trade is in the hands of powerful merchant 
families, and is channeled through the now- 
independent city-state of Boston, rebuilt into 
a huge, cube-like metropolis (with the use of 
alien technology) after a series of bloody 
revolutions. 

The heroes, Beverly O'Meara, a tough 
female private eye. and her alien partner, 
Akktri the Phner, are hired by Iris Sherwood, 
the powerful Head of the City's Public 
Works Division, to track down her missing 
daughter. Even if the story itself is not 
tremendously original. In the Cube features 
excellent characterization and is paced 
briskly. This is not a boring book. 

The rather conventional but always ef- 
fective plot, however, really takes a back 
- seat to the author's extremely clever and 
well-crafted universe. Boston's future his- 
tory and the various alien cultures we meet, 
such as the Phneri or the mysterious Tar- 
gives, are fascinating and tantalizing. The 
reader is left wanting more, which is usually 
the case with first-class SF. 

— Jean-Marc Lofficier 




Earthsong: Native Tongue HI by Suzette 
Haden Elgin (DAW, paperback, 255 pp, 
$4.99) 

What do the women translators do when 
the aliens they've interpreted for throughout 
200 years up and leave? Organize to eradi- 
cate world hunger, of course. 

The goal is noble, and the solution, fairly 
simple — once you figure it out. The women, 
however, keep their solution a secret and 
carry out their plans in silence. They do this 
because they know men will never allow 
their solution to be shared. So they set in 



SCIENCE ncnoN 

CONTINUUM 

^ ^ Catalogue of SF, Fantasy, & Horror ^ 

JAPANIMATION 

A.D. POLICE 1,2 or 3 

AMBASSADORMAGMA lor 2 

AREA 88 #1 or #2 

AREA 88 #3 

BATTLE ANGEL 

BURN UP 

CRYING FREEMAN 

DEMON ai Y SfflN JUKU 

DEVIL HUNTER YOKHO 

DEVIL MAM or 2 

DOOMED MEGALOPOLIS 12 3or 4 

GENESIS SURVIVORGALARTH 2 

GUYVEROUT OF CONTROL 

N'EO TOKYO 

KABUTO 

MACROSS2 l,2.or3 

MERMAID SCAR 

LENSMAN 

LUMTHE FOREVER 

LUPIN m#i 

OUTLANDERS 

PROFESSIONAL: GOLGO 13 

RGVEDA 

RANMAl/21,2,or3 

RANMA: SEEKING SHAMPOO 

ROBOT CARNIVAL 

SOLBIANCA 

SILENT MOBIUS 

VAMPIRE HUNTERD 



MACR0SS2 

volumes ^ 
is in stock || 
no'vv! 



R< 




• : • 




34.99 
29.99 
34.99 
39.99 
34.99 
29.99 
29.99 
29.99 
29.99 
34.99 
29.99 
34.99 
34.99 
24.99 
34.99 
24.99 
34.99 
19.99 
39.99 
14.99 
24.99 
29.99 
29.99 
29.99 
34.99 
19.99 
39.99 
24.99 
29.99 



, $14.99 ea 

ROBOTECH #1 - Booby Trap/Countdown 
ROBOTECH ta - Space Fold/Lon» Wait 
ROBOTECH #3 - Transformation/Blitzkrieg 
ROBOTECH #4 - Bye Bye Mars/Sweet Sixteen 
ROBOTECH *5 - Miss Macrosss/Blind Game 
ROBOTECH #6 - First Contact/ Big Escape 
ROBOTECH ni - Blue Wind/ Gloval's Report 
ROBOTECH #8 - Homecomino/ Battle Cry 
ROBOTECH #9 - Phantasm/ Farewell Brother 
ROBOTECH #10 - Bursting Point/Paradise Lost 
ROBOTECH #ll-ANewDawnyBattleHvmm 
ROBOTECH # 12 - Reckless/ Showdown 
ROBOTECH #13 -Wedding Bells/ TheMessenger 
ROBOTECH #14 -Force Of Arms/ Reconstruction Blues 
ROBOTECH #15 -RobotechMasters/VivaMiriya 
ROBOTECH # 16 - Khyron's Revenge/ Broken Heart 
ROBOTECH # 17 - ARainy Night/ Private Time 
ROBOTECH # 18 - Season's Greetings/ To The Stars 
♦ROBOTECH # 19 - Dana's Story/ False Start 
♦ROBOTECH taQ - Southern Cross/ 'Volunteers 
♦The beginning of the RobotechMasters series 

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motion a plan that will take a century to 
come to fruition. At times their efforts seem 
to be forgotten, or to have failed, but not all 
is what it seems with these far-seeing wise 
women. 

Suzette Haden Elgin has written a fasci- 
nating story — though character is secondary 
to the world system she depicts. As a quick, 
non-lecture way to get historical information 
in. she uses "soap opera" updates to show a 
changing Earth. It can be jarring. Readers 
will also have to accept that most males are 
idiots without enough sense to come in out 
of the cold — and that's the best that can be 
said for them. 

Earthsong is the third of a series, yet it 
stands on its own as an intriguing, well- 
written novel. Recommended. 

— Penny L. Kenny 

Impossible Things by Connie Willis 
(Bantam, paperback, 496 pp, $5) 

Connie Willis is a top-notch storyteller, 
and prospective readers of this wonderful 
collection of short stories probably do not 
need Gardner Dozois' foreword to sell her 
merits. 

SF short stories should (a) be clever, i.e.: 
start with an interesting premise and treat it 
in an original fashion, and (b) leave behind a 
small crater-like mark in the reader's mind. 
The field's best short story writers — Ray o 
Bradbury, Harlan Ellison, Cordwainer ^ 
Smith. Robert Sheckley. Jack "Vance. Robert f 
Silverbera, to name a few — have all mas- c 
tered these skills, and their best stones re- 
main unforgettable long after many trilogies 
have been mercifully erased from one's 
memory. To this prestigious list must now 
be added Connie Willis' name. 

"The Last of the Winnebagos" offers us 
the bleak sight of an Earth without 
dogs. Hugo-winner "Even the Queen" is a 
razor-sharp insight into human procreation. 
"Ado" is a delightful satire on political cor- 
rectness. "Jack" is a unique and moving 
vampire tale. The list goes on. Not one less- 
than-great story in the lot, with the possible 
exception of "Spice Pogrom" because it is a 
screwball romance and suffers slightly be- 
cause Robert Heinlein did them so much 
better than everyone else. 

Impossible Things is, simply, the best. 

— Jean-Marc Lojficier 

The Last Book of Swords: Shieldbreaker's 
Story by Fred Saberliagen (Tor, hard- 
cover, 256 pp, $20.95) 

Shieldhreaker' s Stoiy brings the "Sword" 
series to a dull climax. The 12 magic Swords 
have been slashing through history for 40 
years, and now Vikata, an evil wizard wield- 
ing the Mindsword. attacks his old enemy 
Prince Mark, and winds up facing Mark's 
young son, Stephen, who holds the suppos- 
edly invincible Shieldhreaker. The resulting 
action is uninvolving. Fred Saberhagen often 
tells what is happening instead of showing it, 
and none of the characters come to life; two 
important players are killed towards the end 
and nobody seems to notice, possibly be- 
cause characters from previous volumes 
keep popping up with little explanation. 



Only in the last chapters, when the book 
takes on a mystical tone and Shieldhreaker 
figures in a spectacular last duel, does the 
book seem like the grand finale readers 
should expect after 10 books. 

This one is only for fans of the series, 
and even they might be disappointed. 

— Scott W. Schumack 



He .OS c fa"«. i onge', owf 
!■= Aas going to iwlce Jhe 
jSQrtaJ rssin mmsi- 




Metal Angel by Nancy Springer (Signet, 
paperbacii, 316 pp, $4.99) 

Volos is an angel come to Earth to play 
rock 'n' roll and have sex — which is 
apparently the main attraction of being 
human. 

The key people in this spoiled angel's 
life are Texas — an ex-cop who wants to 
mother the angel; Mercedes — an egocentric 
jerk who manages and sleeps with Volos; 
and Angle — the daughter of a fundamental- 
ist minister who abandons her husband to 
write songs for Volos and have an affair 
with him. 

Every cliche on the wicked ways of Hol- 
lywood, bigoted Fundamentalists and angry, 
rebellious youth finds its way into this 
volume. Pius, there's a senseless subplot 
about Angle being able to control angels — 
which is never explained well. Not a heaven- 
sent read. 

— Penny L. Kenny 

Geomancer by Don Callander (Ace, pa- 
perback, 257 pp, $4.99) 

On the eve of his "Journeyman's Exami- 
nation for Advancement to full Wizardy," 
Douglas Brightglade, a Pyromancer, is kid- 
napped by giant stone men. They threaten to 
keep him until he reverses the spell that 
made them stone. Since rock isn't his forte, 
Douglas searches for the one and only geo- 
mancer left in the world. 

With the help of his sea otter familiar 
Marbleheart and a magician, Douglas seeks 
the reclusive geomancer and his own miss- 
ing mentor, and gets involved in a rebellion. 



Yes, the problems are solved a little too 
quickly for the build-up they're given, and 
the coincidences are extraordinary, but it's 
the appealing cast and not the plot that's this 
book's focus. 

Don Callander has a gift for characteriza- 
tion — from blushing, honest, capable Dou- 
glas to bustling, busy Blue Teakettle — they 
all come to life. As do the settings. The 
characters might go from cold to hot 
(climates, that is), but the writing never 
does. It's rock solid fun all the way. Highly 
recommended. 

— Penny L. Kenny 

Pallas by L. Neil Smith (Tor, hardcover, 
435 pp, $23.95) 

In the near future, the planetoid Pallas 
has been terraformed and subsequently 
colonized by two different groups of people; 
the Government-controlled, socialistic Gree- 
ley Utopian Memorial Project, and the 
freewheeling, libertarian settlement 
established by the charismatic William 
Wilde Curringer. Needless to say, this is a 
recipe for conflict. To no one's surprise, the 
libertarians, because they are "richer and 
smarter than those pitiable culls who have 
remained behind in the deadly safety of 
Earth," win. 

As the above quote indicates, Pallas does 
not read as much like a novel as it does a 
political tract. There's nothing wrong with 
using SF to convey a political message. One 
could argue that all novels, and particularly 
SF novels dealing with future societies, do 
so, even unconsciously. Some of the best SF 
novels ever written have specifically dealt 
with political themes. Ursula K. Le Guin's 
masterful The Dispossessed also opposes 
and contrasts the values of two societies, one 
capitalistic and the other socialist. However, 
L. Neil Smith is no Ursula K. Le Guin. The 
author's sympathies are hammered out with 
all the subtlety of a piledriver. As a result, 
the political din ends up drowning the 
fiction. This is not storytelling, it is a 
sermon. Pallas is strictly for the converted. 
— Jean-Marc Lojficier 

A Tupolev Too Far by Brian Aldiss (St. 
Martin's Press, 208 pp, $18.95) 

If Rod Serling had fasted for a week, 
loaded up on Blue Cheer and Chronic, and 
then went on to produce The Twilight Zone, 
this collection of short stories by Brian 
Aldiss might have been the resuh. There's 
madness here, extremely readable madness. 

The collection includes the title story, a 
tale about a salesman from an alternate uni- 
verse who finds that the Czarist Russia he's 
familiar with has been replaced by the 
communist version from our world. Also 
featured is "North of the Abyss," which pre- 
sents a genuine vision of Hell, and "Better 
Morphosis," a gem of a tale about a cock- 
roach who finds himself turned into Franz 
Kafka. 

Aldiss goes beyond the setting of a story, 
as well as the character, and writes of souls, 
carrying the reader along as a passenger. In 
"Three Degrees Over." a prim Oxford 
family receives a wildly erotic guest, but it's 



18 



STARLOG/Mnv 1994 



the reader who is eventually transported to 
Wonderland. Such a sensation permeates the 
entire collection. There's nothing really 
unusual going on. ..any problems which 
occur are in our heads alone. There is 
nothing wrong with our television sets. 
Aldiss is in control. He will control the 
horizontal, and he'll damn well control the 
vertical as well. All the reader has to do is 
hana on for the ride. 

—Michael Wolff 

Lake of the Long Sun by Gene Wolfe (Tor, 
hardcover, 352 pp, $21.95) 

This is the second volume in the "Book 
of the Long Sun" epic (the previous tome 
being Nighfside the Long Sun), which itself 
is being sold as a sequel of sorts to Gene 
Wolfe's critically-acclaimed five-volume 
"Book of the New Sun" series. So far, 
the new series doesn't feature any characters 
from the previous one. and stands on its own 
rather well. If anything, one is curious to see 
how Wolfe will eventually gather all the 
threads into one coherent universe. 

Lake of the Long Sun follows where its 
predecessor left off; Patera Silk, a young 
priest, is trying to raise money to save his 
parish and takes the first steps that will re- 
veal that his world is really a huge space- 
ship, which the readers knew (or suspected) 
all the while. This takes away some of the 
sense of wonder, and is something of a 
drawback. 

On the plus side, there is Wolfe's won- 
derful prose and remarkable imagination, 
especially when it comes to creating differ- 
ent human societies. On the negative side, as 
the series progresses, one is left with the 
feeling that Brian Aldiss did all this equally 
well in the single novel, Non-Stop. There is a 
great deal happening in Lake of the Long 
Sun, but so far, it hasn't been meaningful. 

This is definitely a book where how one 
gets there is more important than getting 
there. 

— Jean-Marc Lofpcier 



, w -. w '^ '.^ "^ 



'-tij .^ 'jJ-V^ 



The Black Gryphon by Mercedes Lackey 
and Larry Dixon (DAW, hardcover, 400 

PP, $22) 

While The Black Gryphon, first of a new- 
series about the prehistory of Mercedes 
Lackey's Valdemar books, deals with a war 
of wizards, its emphasis is not on swordplay 
and sorcerous combat but on character and 
emotion. It does follow the title character. 
Skan, on dangerous missions against the evil 
Ma'ar and his armies, but the book's heart is 
the bonds between Skan, the human Healer 
Amberdrake, the misfit gryphon Zhaneel and 
the good, if too paternalistic, wizard Urtho. 

Most of this novel takes place in the 
camp of Urtho's army, where it shows the 
physical and emotional suffering of war, 
things too many stories ignore. Behind this 
backdrop is a larger theme: the uneasy rela- 
tionship between the mortal majority and 
artificial creatures — the gryphons and magi- 
cally gifted people — the Healers. 

Yet the book isn't heavy; it is funny, 
touching, and exciting. The final chapters 
have enough treachery and heroism for a 
whole lesser novel, and The Black Gryphon 
should be enjoyed by any fantasy devotee, 
not just Lackey's fans. 

— Scott W. Schumack 

Curse of the Mistwraith by Janny Wurts 
(Roc, hardcover, 688 pp, $22) 

.Athera is covered with an eternal fog, the 
malevolent Mistwraith. Only the combined 
powers of two half-brothers can challenge 
the Mistwraith; Arithon. Master of Shadows 
(the good guy), and Lysaer. Lord of Light 
(the one who goes bad). They must work to- 
gether to save Athera. Too bad their families 
have hated each other for generations, 
they're in Athera against their wills, and fate 
has all but destroyed any chance of team- 
work. 

Curse is an epic — in fact, this is only the 
first volume, so don't expect anything to get 
resolved. The problem with epics is they 
have many characters who run in and out 
and don't always connect up with the main 
characters. Janny Wurts tends to pack in too 
much history at times, and she shouldn't 
have named two characters who do stay to- 
gether Arithon and Asandir — it tends to be 
confusing. 

Now the good points. Arithon and Lysaer 
are characters readers can care about, and 
the supporting cast is well done too. There's 
even a glossary. Wurts gives readers a peek 
at what's coming in later stories — an effec- 
tive way to whet the appetite. 

— Penny L. Kenny 

Scissors Cut Paper Wrap Stone by Ian 
McDonald (Bantam/Spectra, paperback, 
160 pp, $3.99) 

.A guilt-ridden man makes a pilgrimage 
to Buddhist shrines scattered across a de- 
pressed, strife-torn Japan. In this 21st- 
century world, dead minds survive in an 
electronic limbo, biotechnology is transform- 
ing the land and people, samurai wear pow- 
ered armor and the feuding warlords are 
giant corporations. The pilgrim, Ethan Ring, 
carries in his sloved hands a box full of 




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demons with the power to control or destroy 
the world, and other people want it. 

Ian McDonald packs this novella with 
more speculation, drama, character and ac- 
tion than books twice its length: the result is 
a near-perfect work of SF, a deft mix of old- 
fashioned storytelling and cyberpunk 
themes. Despite its density of character and 
incident, the book never seems rushed or su- 
perficial. Even with its strong moralistic an- 
gle and blend of first-person narrative and 
flashbacks, it never seems preachy or heavy. 
Besides its fascinating artistic, economic and 
technological speculation — and its rich 
Japanese travelogue — it has a wry awareness 
of Japanese animation, and a climactic duel 
worthy of prime anime. 

— Scott W. Schumack 




TunFaire's political climate seems to come 
in clumps and odd places. This could be off- 
putting for latecomers to the series. 

— Penny L. Kenny 

The Ships of Earth by Orson Scott Card 
(Tor, hardcover, 384 pp, $22.95) 

Old Testament parallels run through vol- 
ume three of the "Homecoming"' saga as a 
small group of chosen ones wander through 
a desert begetting a new generation and suf- 
fering crises of faith and conflicts of leaders. 
Previously the Oversoul, the computer gov- 
erning the planet Harmony, picked this 
group to return to Earth and repopulate the 
homeworld, abandoned for 40 million years. 
Some, like young Nafai, hear the OversouFs 
mental voice clearer than others, bringing in 
the major conflict with his older brother. El- 
emak. 

Card focuses on human behavior, and he 
owes as much to studies of primate psychol- 
ogy as to the book of Exodus. The change 
from sophisticated urban life to elemental 
nomadic culture, and what this does to male- 
female relations, are as important as 
prophetic dreams and survival melodrama. 
Even facing cosmic truth, people cling to 
petty concerns — an old message, but one 
Card delivers with wit and sympathy. 

This book stands on its own, but it will 
best be appreciated by those who've read the 
earlier volumes. 

— Scott H Sdntmack 



ten exciting, but it's nothing that wouldn't 
be just as exciting — and far more plausi- 
ble — in a World War II story: indeed, it 
echoes a dozen old war movies: Doomed 
lovers, tough marines, spoiled rookies who 
become heroes, old officers who argue over 
sending the "kids" on death missions and 
self-sacrifice galore. This may work in films 
and games, but for SF fans who want more 
than cliches, it's a waste of time. 

— Scott W. Schumack 



Deadly Quicksilver Lies by Glen Cook c 
(Roc, paperback, 347 pp, $4.99) | 

P.I. Garrett is back for a seventh outing \ 
in the city of TunFaire where danger lurks i 
around every comer. ^ 

Garrett is hired by a late king's mistress ] 
to find her missing daughter, but she might \ 
really be setting him up for a hit. Also, a < 
legendary fence is keeping an eye on Garrett i 
and making his life miserable. And why is a 1 
book so important? 

Glen Cook has concocted a wonderfully 
twisted story. He takes all the P.I. conven- 
tions and slants them. Garrett is the typical 
hardboiled P.I. — a loner with an eye for the 
ladies, a soft spot for the underdog and a 
dead roommate. Morley Dotes — elf, killer, 
gourmet — is similar in feel to Robert B. 
Parker's Hawk, but has his own style. And 
Winger is a female version of the T'V Rock- 
ford's Angel — only better. 

Cook proceeds to pull all these unusual 
people and twisted plot elements together in 
a well-paced thriller. His writing is crisp, the 
staccato style fits the detective tradition and 
he never descends into purple prose. 

One minor flaw: The information on 



End Run by Christopher Stasheff and 
William R. Forstchen (Baen, paperback, 
320 pp, $4.99) 

End Run, the second book based on the 
Wing Commander interactive game, starts 
with Christopher Stasheff s short piece 
"Milk Run," about a perilous reconnaissance 
flight against the alien Kilrathi. The infor- 
mation gathered leads to the longer story, 
"End Run." by William Forstchen, which 
tells of Jason Bondarevsky. a young fighter 
pilot assigned to a makeshift warship with 
an uncertain captain, a raw crew and little 
chance of surviving a complex suicide mis- 
sion. 

The book is competently written and of- 




Mirror Dance by Lois McMaster Bujold 
(Baen, hardcover, 392 pp. $21) 

This latest entry in Lois McMaster Bu- 
jold's Hugo Award-winning "Vorkosigan" 
series centers around Mark Vorkosigan. the 
assassin-programmed clone-brother of Miles 
Vorkosigan. Having escaped the course of 
murderous action selected for him, and de- 
siring revenge, Mark assumes Miles' 
"Admiral Naismith" identity and blusters his 
way into commanding his brother's Dendarii 
Mercenaries, leading them into an assault 
mission against the world of his creators. 
Unfortunately, lacking his brother's training 
and experience. Mark succeeds only in 
landing himself, the Mercenaries, and even- 
tually even Miles into an extremely sticky 
situation. While all of this happens, Mark 
must also deal with his growing humanity, 
and his place within the Vorkosigan family. 

The bad news is that it's necessary to 
be familiar with the rest of the books in this 
series to really get the story's full flavor. The 
good news is that Bujold is one of the 
growing number of writers who has raised 
the space opera subgenre into a literate form. 
The action never stops, and the characters 
are never two-dimensional. This is espe- 
cially true of Mark and Miles Vorkosigan. 
both of whom have to overcome what they 
feel are their own physical and emotional 
shortcomings. Bujold never forgets that SF 
is the chosen genre of the socially stunted 
and. in Mark and Miles, she has created 
characters with which quite a number of 
readers can immediately identify. 

—Michael Woljf 



20 



STARLOG/iWay 1994 




"THE STRAIMGER" VIDEOS 



SUMMONED BY SHADOWS VIDEO (VSS) 

After many wanderings through time and space, 
the mysterious traveller (Colin Bal<er) now el<es out an 
existence in solitude amongst the desolate plains of an 
alien world, turning a seemingly blind eye to the macabre 
goings-on at a nearby marketplace. Also stars Nicola 
Bryant and Michael Wisher. JJJ*!**- $18.95 

MORE THAN A MESSIAH VIDEO (VMM) 

Majus Seventeen; a paradise world where interplan- 
etary tourists are encouraged to live in simple, wooden 
cabins amongst primitive but friendly wildlife. 

This enthralling sequel to Summoned by Shadows 
stars a cast familiar to Doctor Who and fantasy fans in a 
nightmarish adventure wherein nothing and no one is 
what they seem to be. Colin Baker, Nicola Bryant and 
Sophie Aldred star. _iX9t9^ $18.95 








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THE STBA-HGEH 

IN MEMORY 
ALONE 




IN MEMORY ALONE (VIMA) 

The deserted dilapidation of a railway station is disturbed by an 
unscheduled arrival. Something has traveled an unimaginable distance 
aaoss space. Colin Baker, Nicola Bryant and Nicholas Briggs star. 

This is the third installment in 'The Stranger" series. It includes a 
short "Making of featurette plus outtakes from the filming. $1 9.95 
NEW! THE AIRZONE SOLUTION (VAS) 

An environmental catastrophy looms. Toxic Air Alerts are frequent, 
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the real Airzone Solution is uncovered. Starring Colin Baker. Svlvester McCoy, 
Peter Davison and Jon Pertwee. $24.95 



Doctor Who Diamond Logo 
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While supplies last, we'reof- 
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This offer is valid 
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Diamond Logo T-shirts (blacl< 
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IVIYTH IN/IAKERS VIDEOS - $19.95 



SPECIALS: 

Return to Devil's End 
(MMDE) 

Jon Pertwee, Nick Courtney, 
Richard Franklin and John 
Levene return to the village 
of Aldbourne 22 years after 
fi 1 m ing the classic episode 'The 
Daemons." 

Myth Runner (MMMR) 
Outtakes and bloopers from 
the MythMakers series woven 
into a Blade Runner parody. 
Just Who on Earth is Tom 

Baker?(MMTB21 
As his own interviewer, Tom asks 

himself some very probing questions. At times he even 

seems to surprise himself. 

War Time/Panopticon (MMWT) 

Sgt. Benton (John Levene) enters a nightmarish world 

where he is forced to confront the deaths of his father 




and brother. Then enjoy exclusive footage of 
Patrick Troughton, Jon Pertwee, Tom Baker, 
Peter Davison, Colin Baker, Nicola Bryant and 
others from Panopticon VII. 

THE INTERVIEW TAPES 
Sophie Aldred (MMSA) 
Sophie (Ace) guides Nick Briggs through a tour of 
East London. 

Colin Baker (MMCB) 
Colin and Nicholas Briggs are teleported to a 
familiar location by an alien being. 
Tom Baker (MMTB) 
In an interview with Nicholas Briggs at the loca- 
tion used for "The Android Invasion", Tom 
discusses his life and career. 

Jon Pertwee Interview (MMJP) 
This volume is devoted to the fascinating man 
behind the character. 

The Men from UNIT (MMMU) 
NicholasCourtney (Brigadier Lethbridge-Stewart) and 
John Levene (Sgt. Benton) reflect on Doctor Who. 



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SUMMONED BY SHADOWS 


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VMM 


MORE THAN A MESSIAH 


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IN MEMORY ALONE 


$19.95 






VAS 


THE AIRZONE SOLUTION 


$24.95 






MMDE 


RETURN TO DEVIL'S END 


$19.95 






MMMR 


MYTHRUNNER 


$19.95 






MMTB2 


JUST WHO ON EARTH IS TOM BAKER 


$19.95 






MMWT 


WAR TIME / PANOPTICON 


$19.95 






MMSA 


SOPHIE ALDRED INTERVIEW 


$19.95 






MMCB 


COLIN BAKER INTERVIEW 


$19.95 






MMTB 


TOM BAKER INTERVIEW 


$19.95 






MMJP 


JON PERTWEE INTERVIEW 


$19.95 






MMMU 


MEN FROM UNIT 


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.Anglicon 7 
P.O. Box 75536 
Seattle. W A 98125 
1206)745-2700 

MAGIC CARPET 
CON 11 

April 29-May 1 
Holiday Inn 
Dalton. GA 

Magic Carpel Con 
P.O" Box 678 
Rocky Face. GA 30740 
(706) 965-8225 
Guest: C.J. Cherryh 

FLORIDA FILM 
FESTIVAL 

April 30-May 1 

Days Inn Downtown 

Tampa. FL 

Joe Moles 

12237 SW 50 Street 

Cooper City, FL 

33330-5406 

(305)434-6060 

Guests: William Campbell. Iron 

Eyes Cody. Jay North. James Best. 

Johnny Crawford 



MAY 

CONDUIT 4: KING 
CONDUIT 

May 13-15 

Quality Inn. City Center 

Salt Lake City. IT 

CONduil 4: King CONduit 

c/o Dave Powell 

2566 Blaine .Avenue 

Salt Lake City. UT 84108-3359 

Guest: C.J. Cherryh 

MARCON 29 

May 13-15 

Hyatt Regency Columbus 

Columbus, OH 

Marcon 29 

P.O. Box 21 1101 

Columbus. OH 43221 

(614)451-3154 

Guests: Philip Jose Farmer. Boris 

Vallejo. Julius Schwartz. Forry 

.Ackerman 

OMNICON 

May 27-29 

Red Lion Jantzen Beach 
Portland, OR 
Omnicon 
P.O. Box 625 1 
Vancouver. WA 98668 
Guests: Robert O'Reilly. 
Ann Crispin 

GAMESCAUCUS II 

May 27-30 

Oakland .Airport Hotel 

Oakland. CA 

TriGaming .Associates 

c/o Mike Wilson 

PO Box 4867 

Walnut Creek. CA 94596-0867 

(510)686-9319 

JUNE 

THUNDERC0N4 

June 3-5 
Century Center 
Oklahoma City, OK 
PO Box 892545 
Oklahoma City. OK 
73189-2545 
(405) 692-7035 
Guest: Majel Barrett 



MAD MEDIA: THE 
CONVENTION 

June 10-12 
Madison. WI 
Mad Media 
P.O. Box 1624 
Madison. WI 53701-1624 

TERRACON '94 

June 10-12 
Coast Terrace Inn 
F.dmonton, .Alberta, Canada 

TerraCon "94 

8831-93 Street 

Edmonton. Alberta. Canada 

(403)469-9765 

FANGORIA 
WEEKEND OF 
HORRORS 

June 11-12 

LAX Hilton & Towers 

Los .Angeles, C\ 

Creation/Fango 
630 Riverdale Drive 
Glendale.CA 91204 
Guests: Clive Barker. Tim 
Thomerson. Ken Tobey. Beverly 
Garland. Frank Darabont. Host: 
Tony Timpone 



ATLANTA FANTASY 
FAIR -1994 

20th .Anniversary Celebration 
June 17-19 
Crown Plaza/Ravinia 
Atlanta, GA 

(404)923-1280 



VULKON 



1994 Starfleet 20lh .Anniversary 

International Conference 

June 17-19 

Orlando North Hilton 

Orlando. FL 

Vulkon Conventions 

12237 SW 50 Street 

Cooper City. FL 33330-5406 

(305)434-6060 

Guesi: Leonard Nimoy 



CRACKERCON 3 

June 25-26 
Holiday Inn Fast 
Jacksonville. FL 

Crackercon 3 
PO Box 8356 

Jacksonville. FL 32239-8356 
Guest: Jack Haideman 



JULY 

S,T.A.R.S, '94 

July 13-14 

.Atlanta Hilton and Towers 

.Atlanta, G.A 

STARS. 94 

P.O. Box 47696 

Atlanta. GA 30362-0696 



DRAGON CON 

July 15-17 

Atlanta Hilton & Towers and 

Westin Peachtree Plaza 

Atlanta, GA 

Dragon Con '94 

P.O. Box 47696 

Atlanta. GA 30362-0696 

Guests: Harlan Ellison. Stuart 

Gordon. Dave McKean. Wall 

& Louise Simonson 



FANEX8 

July 22-24 

Sheraton North Towson 

Baltimore, MD 

Fanex 

c/o John Stell 

7861 Centergate Coun 

Pasadena. MD 21 122 

(410)255-5186 

Guests: Ingrid Piti. Martine 

Bes"* ick. Veronica Carlson. Tom 

Weaver 



AUGUST 

VULKON 

.August 27-28 

Fort Lauderdale North Marriott 

Fort Lauderdale. FL 

see above address 

Guests: Armin Shimerman. 

David McDonnell 



22 



STARLOG/Mav 1994 



Address: c/oTLETHYAH 

304 Caroline Street 

Neenah. WI 54956 
Dues: SlO/Regular — S5/Associate payable 
in U.S. funds to Valerie La Rue. 
Membership includes: Newsletter and 
membership kit. 

RED ALERT FLEET 

A role-playing/persona organization based 
on The Next Generation. 
Sanctioning: None. 
Address: Red Alert Fleet 

10110 Westland Drive 
Knoxville,TN 37922-5122 
Dues: SIO. No checks! Make money or- 
ders/cashier's checks to Dane Baker. 
Membership includes: Rules/guidelines 
manual, 12 issues of the Admiral's Report. 
starship placement and duty orders. LCARS 
data sheets and blueprints/diagrams (if both 
available). 

THE VULCAN ACADEMY 

Non-profit group devoted to Vulcan philoso- 
phy, psychology and culture. 
Sanctioning: None. 
Address: The Vulcan Academy 

BP 122 59009 Lille Cede.x 

France 
Dues: Free. 

STAR 

The Star Trek Association of Rochester's 
mission is to endorse and support the con- 
cepts of IDIC. 



Sanctioning: None. 
Address: STAR 

P.O. Box 23072 

Rochester, NY 14692 
Dues: S6 yearly. 

Membership includes: Six issues of club 
newsletter, status report, bi-monthly meet- 
ings, club library. 

THE ROMLLAN COMMAND 

.An international fan club dedicated to the 

Romulans of Star Trek. 

Sanctioning: None. 

Address: The Romulan Command 
Praetor STek Tarces 
46 Sherbrooke Road 
Lindenhurst. NY 11757 

Dues: None. 

Membership includes: Bi-monthly 

newsletter, rank and membership certificate, 

ID card. Send SASE for application. 

U.S.S. JOSHUA, NCC-3700 

A club seeking to provide a warm and 
appropriate environment for the pursuit of 
the ideals and spirit espoused by Star Trek. 
Sanctioning: Starfleet. 
Address: U.S.S. Joshua. NCC-3700 
c/o Capt. Gail Rushing 
14606 Dallas Pkwy. #1137 
Dallas. TX 75240 
Dues: S15 Starfleet, SI 8 non-Starfleet. 
family memberships available. 
Membership includes: Bi-monthly 
newsletter, choice of department and 
assignment. Send SASE for details. 





'^'^fe 



'dULES VBRHB R.E.S£AR.CHINGr HIS 

MOST FA /^OUS NOVBL 

WOULP YOU/MNP?!\ 




DESTROYER ONE 

A Star Trek/SF club. 

Sanctioning: None. 

Address: Destroyer One 

3714 ForestwQod 
Texarkana, AR 75502 

Dues: None. 

Membership Includes: Newsletter. Send 

SASE for details. 

STAR TREK ASOCIACION 
CULTURAL 

Sanctioning: None. 



QUANTUM 
LEAP 

Quantum Leap'^ 
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Leap out in style with our brightly colored 
Quantum Leap "accelerator" lapel pin, measuring 
approximately 1 v." X 1" $8.00 





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Sam Beckett stepped into the Quantum 
Leap accelerator and vanished " 

Features the full color image of 
Scott Bakula as Sam with the Quan- 
tum Leap logo. This is the third mug 
in a new collector's series. $ 1 2.00 



Quantum Leap®; The Wall 

Germany, 1961. A rigid world of dangerous 
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and Sam leaps into the life of Missy, a six year old girl. 
What can a child do to alter the fate of Germany and 
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MAIL PAYMENT WITH THIS ORDER FORM TO; 

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PLEASE ALLOW 4 TO 6 WEEKS FOR DELIVERY 



INVESTIGATE 




At the 
furthest 
reaches of 
space 
there s a 
new 

frontier for 
adventure: 
Star Trek: 
Deep Space 
Nine. 

Now, 
here's your 
chance to 
collect the 
full-color, 
licensed 
magazines 

from , , . 

STARLOC PRESS that chronicle this 
newest, exciting installment in the 
continuing Star Trek saga! 

#1 Cold cover! Inteiviews; Co- 
creator/executive producer Rick 
Berman, makeup wizard Michael 
Westmore, pilot director David 
Carson. "Emissary" synopsis. Plus: 
Four posters (Colm Meaney, Brooks, 
El Fadil, the cast). $10. 

#2 Interviews: Avery Brooks, Nana 
Visitor, Terry Farrell, Armin 
Shimerman, Siddig El -Fadil, 
producer/writer Peter Allan Fields. 
Plus: Four posters (Farrell, Rene 
Auberjonois, \/isitor,Shimerman). $7. 

#3 Interviews: Co-creator/executive 
producer Michael Piller, production 
designer Herman Zimmerman, 
prolific director Paul Lynch. Episode 
synopses from "Past Prologue" to 
"Q-Less." $7. 

#4 All-synopsis issue, completing 
DS9's first season, from "Dax" to 'In 
the Hands of the Prophets." $7. 

Available while supplies last!! 

Send cash, check or money 

order payable to; 

STARLOC PRESS 

475 Park Avenue South, 8th Fir. 

New York, NY 10016 

_l #1 $10 J #2 $7 J #3 S7 J #4 $7 

Method of Payment: 
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Don't want to cut out coupon? We accept written 
orders Please allow 4 to 6 weeks for delivery 

Star Trek: Deep Space Nine: TM, 9 U ® 199J 
Paramount Pictures Corporation. Ail Rights 
Reserved. 



Address: Star Trek Asociacion Cultural 

Jr. Berlin #1046 

Miraflores — Lima 18 — Peru 
Dues: SIO U.S., Register A Letter. 
Membership includes: ID card, Mundo 
Trek bulletin (in Spanish). 

STAR TREK WELCOMMITTEE 

A fan organization set up to respond to 
questions about lists of Star Trek clubs and 
to answer trivia questions. 
Sanctioning: None. 
Address: Star Trek Welcommittee 

P.O.Box 12 

Saranac. MI 48881 
Membership includes: Send SASE for de- 
tails on how to order the club directory or 
with questions. 

COMANDO WILLIAM SHATNER 

The first Brazilian fan club devoted to 

William Shatner. 

Sanctioning: None. 

Address: Comando William Shatner 

c/o Fatima Botelho de Brito 

Rua Conselheiro Autran, 35 

Apto. 406 

CEP.2055 1 .060— Vila Isabel 

Rio de Janeiro, Brazil 
Dues: None. 

Membership includes: Quarterly newszine 
(Welcome to My World), info on Shatner's 
activities, pen pal listing. Send SASE for 
details. 

U.S.S. SOLAR WIND NCC-91993 

A Star Trek club interested in SF literature 
and movies. 

Sanctioning: Borealis Corporation. 
Address: U.S.S. Solar Wind 

3421 Fulton Street 

Saginaw, MI 48601 
Dues & Membership: Send SASE. 

TEN FORWARD 

A Next Generation fan club. 
Sanctioning: None. 
Address: 3 Hardwicke Road 

Eastwood, Rotherham 
South Yorkshire S65 IRE 
England 
Dues: £3.50 (UK); £6 (Europe); £10 
(Overseas) per year. 

Membership includes: Membership card, 
three newsletters per year, starting rank, cer- 
tificate of commission and posting. Send 
SASE for details. 

STAR TREK FORUM 

A German fan club devoted to all incarna- 
tions of Star Trek and the actors involved. 
Sanctioning: None. 
Address: Star Trek Forum 

c/o Alexander Roesch 

Koenigshuetter Strasse 7 

55131 Mainz 

Germany 
Dues: Send SASE for membership fees. 
Membership includes: Monthly newsletter, 
bi-annual fanzine containing fiction, articles 
and artwork, hotline, membership card. 




"...and X uras -^i'r silHn^ her« mindii^^ rny 

^he/I$ and fossKs c-sme up '^^'^ txrat ^C 
heck oofoffnt.'" 

TREXPERTS 

A correspondence/news exchange club for 
fans of Classic Trek. The Ne.xt Generation 
and DS9. 

Sanctioning: None. 
Address: Valerie Herd 

7459 Nasrullah Crescent 

Niagara Falls, Ontario 

L2H 2M4 

Canada 
Dues: S5 U.S.; S6 Canada; $7 or £4 Over- 
seas for three-month membership, payable 
to Valerie Herd. 

Membership includes: 28-page monthly 
fanzine. 

U.S.S. YORKTOWN 
Sanctioning: Starfleet Command. 
Address: U.S.S. Yorktown 

Personnel Officer 

2665 W. North Bend Road 

#1008 

Cincinnati, OH 45239 
Dues: Send SASE for info. 
Membership includes: Official Yorktown 
and Starfleet Command newsletters, mem- 
bership card, Academy evaluation testing. 

U.S.S. RELIANT NCC-1864A 

A non-profit Star Trek fan club. 
Sanctioning: None. 
Address: U.S.S. Reliant 

Captain Shane R. McCaslin 

Route 1 Box 157A 

Winters, TX 79567 
Dues: S5 per year. 

Membership includes: Monthly newsletter 
and membership card. 

THE FINAL FRONTIER 

A German club covering all aspects of the 

Star Trek Universe. 

Sanctioning: None. 

Address: Martin Stahl 

Ulrich-Willer-Strasse 8 
D-97828 Marktheidenfeld 
Germany 

Dues: Send SASE and IRC for info. 

Membership includes: Monthly newsletter 

in German. 



-. 1 



Bspteff® 5fce bSsfl®?^ ®3 8i8«B55© AB^ftB^a Bn 




Note: All issues 
include numerous 
articles & interviews. 
Only a few are listed 
for each entry. 



#2 Gene Roddenberry. 
Space: 1999 EP Guide. 
Logan's Run. War of the 
Worlds. S50. 



*3 Space: 1999EP 
Guide. Michelle 
Nichols. George Takei. 
DeForest Kelley. 
Million Man. $35. 

#4 3-D SF Movie 
Guide. Richard 
Anderson. Outer Limits 
EP Guide. S50. 

#5 3-D Film history. 
UFO S. Space: 1999 
EP Guides. S15. 

#6 Robert Heinlein on 
Destination Moon. Star 
7"re<r Animation. S25. 

#7 Star Wars 
Rocl<etstiip X-M. Space: 
1999 Eagle blueprints. 
Robby. S35. 

#8 Harlan Ellison. Star 
Wars. The Fly. $25. 

#10 George Pal. Ray 
Harryhausen. Isaac 
Asimov. $20. 

#11 CE3K. Prisoner EP 
Guide. Incredible 
Shrinking Man Rick 
Baker. $10. 

#12 Roddenberry. 
Trumbull & $pielberg. 
CE3K. Dick $mith. $5. 

#13 David Prowse. 
George Pal on The 
Time Machine. Logan's 
Run EP Guide. $4. 

#14 Project UFO. Jim 
Danforth. Saturday 
Night Live Trel(.S5. 

#15 Twilight Zone £P 
Guide. Galactica. 
Richard Donner. This 
Island Earth. SA. 

#16 Phil Kaufman. 
Fantastic Voyage. 
Invaders EP Guide. $5. 

#17 Steven Spielberg. 
Gene Roddenberry. Joe 
Haldeman. Ralph 
McQuarrie. $5. 



#19 Ralph Bakshi. 
Roger Gorman. Gil 
Gerard. Star Wars. Body 
SnatchersCESKEX.SA. 

#20 Pam Dawber. Kirk 
Alyn. Buck Rogers. 
Superman S4. 

#21 Mark Hamill. 
David Allen. Lost in 
Space EP Guide. Buck 
Rogers $5. 

#22 Lome Greene. 
Noah Hathaway. 
Veronica Gartwright. 
Special FX careers. 
ALIEN. $5. 

#23 David Prowse. 
Dan O'Bannon. Dr Who 
EP Guide. Day Earth 
Stood Still ALIEN. $A. 

#24 $TARLOG's 3rd 
Anniversary. Shatner. 
Nimoy. $6. 

#25 Ray Bradbury. Star 
Trek: TMP. Thing. $4. 

#26 Ridley Scott. H.R. 
Giger. ALIEN. Gerry 
Anderson. $4. 

t27 Galactica EP 
Guide. ST": TMP. ALIEN 
FX. Nick Meyer. $5. 

#28 Lou Ferrigno. 
Wonder WomanEP 
Guide. $5. 

#29 Erin Gray. Buster 
Crabbe. $4. 

#30 Robert Wise. 
Chekov's Enterprise. 
Questor Tapes. 
Stuntwomen. $10. 

#31 Empire. 20.000 
Leagues Under the Sea 
Chekov's Ent. 2. $4. 

#32 Sound FX LP. Buck 
Rogers & Trek designs. 
Chekov's Ent. 3. $6. 

#33 Voyage to the 
Bottom of the Sea EP 
Guide. Harlan Ellison 
reviews Trek. $5. 

#34 Tom Baker. Irv 
Kershner on Empire. 
Martian Chronicles. 
Buck Rogers S'iO. 

#35 Billy Dee 
Williams. Empire & 
Voyage to the Bottom 
of Sea EX $4 




#36 STARLOG's 4th 
Anniversary. Gary 
Kurtz. Nichelle 
Nichols. David 
Prowse. Glen Larson. 
Yvette Mimieux. $6. 

#37 Harrison Ford. 
Terry Dicks. First Men 
in the Moon S4. 

#38 CE3K. Buck Rogers 
EP Guide. DeForest 
Kelley. S4. 

#39 Sue* Sogers. Tom 
Corbett. Erin Gray. 
Fred Freiberger. $4. 

#40 Mark Hamill. Gil 
Gerard, Roddenberry. 
Jane Seymour. 
Freiberger 2. Empire 
FX. $4. 

#41 Sam Jones. John 
Carpenter. $4. 

#42 Robert Conrad. 
Mark Lenard. 
Childhood's End Dr 
Mfta$5. 

#43 David Cronenberg. 
Gary Kurtz. Jeannot 
Szwarc. Altered States 
FX. Hu*EP Guide. S4. 

#m Altered States. 
Bob Balaban. $4. 

#45 Peter Hyams. 
Thorn Christopher. 
Escape from NY. $5. 

#46 Harry Hamlin. 
Blair Brown. Superman 
II. G American Hero. $4. 

#47 George Takei. 
Sarah Douglas. Doug 
Adams. Outland. $5. 

#48 STARLOG's 5th 
Anniversary. Harrison 
Ford. Lucas. Car- 
penter. Bill Mumy. $6. 

#49 Adrienne Barbeau. 
Kurt Russell. George 
Lucas. George Takei. 
007FX. Ra/ders. $10. 

#50 Steven Spielberg. 
Sean Connery. 
Lawrence Kasdan. 
George Lucas. Ray 
Walston. Heavy Metal 
Dr. Who $20, 



#51 William Shatner. 
Ray Harryhausen. 
Gene Roddenberry. 
Jerry Goldsmith. 
Lawrence Kasdan. 
Batman. S5. 

#52 Blade Runner 
William Shatner. 
Julian Glover. $4. 

#53 Ray Bradbury. 
Patrick Macnee. Blade 
Runner $4. 

#54 3-D Issue. Bob 
Gulp. Connie Selleca. 
Terry Gilliam. Leslie 
Nielsen. Raiders FX. 
rre/t bloopers. $5. 
#55 Quest for Fire. Phil 
K. Dick. Gulp 2. Ed 
(UFO) Bishop. Doug 
Trumbull. Trek 
bloopers. $6. 

#56 Zardoz. Triffids. 
Trek bloopers. $4. 

%S1 Lost in Space 
Robot. Conan. Caroline 
Munro. Ron Cobb. S5. 




#58 Blade Runner. The 
Thing Syd Mead. Trek 
bloopers. $5. 
#59 The Thing. Kirstie 
Alley. Merritt Butrick. 
Schwarzenegger. $20. 

#60 STARLOG's 6th 
Anniversary. Star Trek 
II. John Carpenter. 
Ridley Scott. Al 
Whitlock. TRON. $6. 

#61 Trek II Pt. 2. Walter 
Koenig. Sean Young. 
Sandahl Bergman. 
floatfWamor. $10. 

#62 Ricardo 
Montalban. Koenig. 
Doohan. Ken Tobey. 
Dr. Who. S5. 



#63 Steven Spielberg. 
Carlo Rambaldi. 
Nimoy. Kurt Russell. 
Rutger Hauer. James 
Horner. 325. 

#64 David Warner. 
Peter Barton. Dr. Who 
EP Guide. $10. 

#65 Arthur C. Clarke. 
Mark Hamill. E.T. FX, 
Dark Crystal S4. 

#66 Gary Kurtz & Brian 
Froud on Dark Crystal 
Frank Herbert, Frank 
Marshall, $4, 

#67 TRON. "Man Who 
Killed Spock." Trek II 
FX. Superman III $4. 

#68 Octopussy Never 
Say Never Again.Yiir^K 
Bennett. Richard 
Maibaum. $4. 

#69 Anthony Daniels, 
Tom Mankiewicz, 
Jedls Howard 
Kazanjian, S4, 

#70 Man from 
U.N.C.LE. Something 
Wicked This Way 
Comes. Debbie Harry, 
Chris Lee, John 
Badham, $4. 

#71 Carrie Fisher. 
Richard Marquand. 
Judson Scott. Dan 
O'Bannon. V. $4. 

#72 STARLOG's 7th 
Anniversary. Mark 
Hamill. William 
Shatner. Roger Moore. 
Ray Bradbury. June 
Lockhart. $6. 

#73 Cliff Robertson. 
Robert Vaughn. Roy 
Scheider. Jason 
Robards. Hamill 2. $4. 

#74 Molly Ringwald. 
Michael Ironside. 
Malcolm McDowell. 
L. Semple1.S4. 

#75 Nancy Allen. John 
Lithgow. Barbara 
Carrera. Ralph 
McQuarrie. George 
Lazenby. LS 2. $5. 

#76 Buster Crabbe. 
Sybil Danning. $6. 



#78 Lou Ferrigno. 
Scott Glenn. Nick 
Meyer. Arthur C. 
Clarke. Trumbull 2. 
Lance Henriksen. $4. 

#79 Dennis Quaid. Irv 
Kershner. Jon Pertv/ee. 
Fiona Lewis. David 
Hasselhoff. $4. 

#80 Billy Dee 
Williams. Anthony 
Ainley. Jedi FX 1 . $4. 

#81 Alan Dean Foster. 
Fred Ward. Veronica 
Cartwright Greystoke 
Buckaroo Banzai $4 




#82 Schwarzenegger. 
Max von Sydow. Chris 
Lloyd. Faye Grant. Dr. 
Who. Jedi EX. 2. $4. 

#83 Kate Capshaw. 
Robin Curtis. Fritz 
Leiber. F. Marshall. 
DrWhoVSA. 

#84 STARLOG's 8th 
Anniversary. Nimoy. 
Frank Oz. Chris 
Lambert. Marc Singer. 
Phoebe Gates. B. 
Banzai Jedi EX 3. V. 
$6. 

#85 Jim Henson, Joe 
Dante, Jeff Goldblum, 
Peter Hyams. Bob 
Zemeckis. Ivan 
Reitman. Richard 
Fleischer. $4. 

#86 Peter Weller. Mark 
Lenard. John Sayles. 
Chris Columbus. Rick 
Moranis. Jed'iEXA. 
$25. 

m GhostbustersVX. 
DeForest Kelley. 
David Provwe. David 
Lynch. 2010. B. 
Banzai. $5. 

#88 Terminator. 
Schwarzenegger. 
Kelley 2. Keir Dullea, 
V. Dune. Gremlins $6. 

#89 Jane Badler. 
Helen Slater. Patrick 
Troughton. Jim 
Cameron. Irish 
McCalla. Dune. 2010. 
Starman. B. Banzai 
Terminator. $4. 



#90 Roy Scheider 
Karen Allen, Michael 
Ironside, Dean 
Stockwell, Jeannot 
Szwarc, Pinocchio. $50. 

#91 Walter Koenig. 
Michael Crichton. V. 
Dune. Gremlins. 
Terminator. $5. 

#92 John Carpenter. 
Tom Seileck. Terry 
Gilliam. Brazil. 
Barbarella. $5. 

#93 Richard Donner. 
John Lithgow. John 
Hurt. Robert Englund. 
Simon Jones. Dr Who. 
JedlEXS.M. Python. 
$4. 

#94 James Doohan. 
William Katt. John 
Sayles. John Barry. 
Michelle Pteiffer. V. 
Jedi EX 6. S5. 

#95 Grace Jones. 
Merritt Butrick. Rutger 
Hauer. Matthew 
Broderick. Mad Max III. 
Cocoon $4. 

#96 STARLOG's 9th 
Anniversary. Peter 
Gushing. Walter Lantz. 
Roger Moore. Jonathan 
Harris. Tina Turner. 
John Cleese. Cocoon. 
Jedi EX7.S6. 

#97 Mel Gibson. Scott 
Glenn. Ron Howard. 
River Phoenix. 
Richard Donner. Chris 
Walken. BTTF $5. 

#98 Michael J. Fox. 
Joe Dante. George 
Miller. Steve 
Guttenberg. $4. 

#99 Anthony Daniels. 
Bob Zemeckis. 007's 
"Cubby" Broccoli. Mad 
Max. Twilight Zone.%A. 




#100 SPECIAL ISSUE: 
100 Most Important 
People in SF. Lucas. 
Nimoy. Carpenter. 
Harryhausen. Ellison. 
Matheson. 
Roddenberry. Irwin 
Allen. Nichelle 
Nichols. Peter 
Gushing. $6. 




#101 Ellison. Ridley 
Scott. Sting. Roddy 
McDowall. Patrick 
Macnee. George Takei. 
Fred Ward. 84. 

#102 Spielberg. Mel 
Blanc. Michael 
Douglas. Allen 2. 
Kirstie Alley. Doug 
Adams. Peter 
Davison. Enemy Mine. 
S4. 

#103 SPECIAL ISSUE; 
Making an SF Movie 
Darvl Hannah. Rutger 
Hau'er. Harve Bennett. 
Rob Bottin. Elmer 
Bernstein. S4. 

#104 Peter Mayhevi'. 
Stephen Collins. Ken 
Johnson. '/ Outer 
Limits. T. Zone $4. 

#105 Chris Lambert. 
Colin Baker. Jonathan 
Pryce. Grace Lee 
Whitney. Planet of tiie 
Apes. l/EP Guide. 
Japanimation. S4. 

#106 Nimoy. Tim 
Curry. Clancy Brown. 
Terry Nation. ALIENS. 
Japanimation. S4. 

#107 Jim Henson.Tom 
Cruise. Terry Dicks. 
W.D. Richter. Jean M. 
Auel. ALIENS. 84. 

#108 STARLOG's 10th 
Anniversary. Gene 
Roddenberry. Martin 
Landau. Chuck Jones. 
Kurt Russell. Rod 
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I find Dr. Westphalen wonderful," "* says 
Stephanie Beacham about the character 
she plays on seaQuest DSV. "because I 
think she's an excellent role model for the 
'90s. I feel very, very privileged to have 
passed from being such a representative of 
the '80s." in her role as the mercenary, 
scheming and oh-so-rich Sable Colby on 
The Colhys and Dynasty, "with huge 
amounts of coordinated jewelry. "Let's take 
the jet rather than the helicopter because it 
might mess up my hair.' I loved doing that, I 
felt at the spearhead of the selfish '80s. 



On board "seaQuest 
Stephanie Beachagj 
seeks answers to J 
the mysteries | 
of the deep, r 



"But I think my children are refreshed by 
the fact that I am now playing someone 
nearer to my own heart, and who cares, in 
terms of the planet, the future and the way 
women ought to be — because my other 
characters have been dependent on men. If 
Sable Colby didn't get a good settlement 
from her husband, she would be out on her 
uppers, whereas Westphalen is a self-made 
woman." 

And so is Beacham. for that matter. The 
auburn-haired actress with the great bone 
structure didn't originally expect her life to 



take the direction it\ has. "I thought I wyas 
going to teach mime, dance and movement 
to deaf children, because I am very deaf 
myself. I have no hearing in my right ear, 
and have only 40 percent altogether. I was in 
Paris studying mime when I got kicked out 
of my au pair job. Not surprising — I was an 
appalling an pair. 

"I went to visit a friend who was in Liv- 
erpool at a brand-new theater. That was very 
exciting. I looked around me and thought, 
"So this is acting, so this is theater — this is 
what I want.' I knew a speech from Shake- 







because they said I was too expensive and 
too glamorous. But there was a secretary at 
Amblin who had been a secretary on The 
Colhys, Elaine Strom. She was working for 
Greg Feinberg, a producer here. She saw this 
room with women coming in and out — with 
men coming in and out at first, because ini- 
tially Dr. Westphalen was written as a 
man — and thought, "This is ridiculous. This 
is Stephanie's role." " But the powers at Am- 
blin dismissed the idea; Beacham, they felt, 
was much too elegant to spend her days in a 
lab coat poking at slimy sea creatures. 

"Elaine knew I cleaned up very well, but 
that I'm basically a down-to-Earth person; 1 
just happen to be able to act in pretty 
dresses. She spoke to my assistant Janet, 
who said, 'Stephanie has made a new tape of 
the work she did this year. And here's a 
copy." Elaine Strom put it in Greg's VCR, 
made them watch it, and they said, 'Good 
Lord almighty.' I was in the next day, and 
signed up the next week. It's nice to have 
people who know you." 

She has a clear view of Dr. Westphalen, 
including a backstory, which is only slowly 
beginning to emerge on the series. "You 
would have to have a very special sort of 
dedication to want to be very isolated for 
maybe 10 months of the year as a sub- 
marine's chief scientist. She obviously has 
passion: The major thrust of her life is her 
work; she obviously isn't someone who has 
to hit the malls. She's someone who lives in 
her brain, and I would think that she would 
find [interpersonal] communications some- 
times quite difficuh on a gmndane level." 



speare, did it, and got in. And then I went to 
the Royal Academy after that. I fell into 
acting absolutely by accident." But she 
stayed in it because of her abilities. If the 
British movie business had been more robust 
in the early '70s, when she first made her 
mark (her movie debut was 1968's The 
Games), it seems very likely she would have 
been one of the country's leading actresses. 
But it wasn't; she did a few major films, 
then increasingly minor ones, finally moving 
into T'V. It was from British television that 
she was plucked to play Charlton Heston's 
wicked wife Sable in The Colbys from 1985- 
87. She has been in the U.S. ever since. 

Substitute Castings 

Although Faye Dunaway was expected to 
be cast as the purring Mrs. Colby, contract 
negotiations "went wrong," and Beacham, 
who had just had a major T'V success in 
England, was brought in as Sable — and that 
led in a direct, if unusual, way to her being 
cast in seaQuest DSV. Initially, she admits, 
"Nobody here wanted to employ me, 

BILL WARREN, veteran STARLOG corre- 
spondent, wrote Keep 'Watching the Skies! J 
& 2 (McFarland, $45 & $49.95 @). He 
profiled Joe Dante in STARLOG #200. 




28 



STARLOG/ May 1994 



Beacham feels that Nathan Bridger (Roy 
Scheider) and Westphalen share a special 
rapport. "He is a man of science before he's 
a man of war; his priorities are the same as 
hers: Cure it, mend it, don't kill it. And he 
listens to her. 

"The other person she has an attachment 
to is Lucas [Jonathan Brandis]. for many dif- 
ferent reasons. Lucas brings out her maternal 
instincts because he is, after all, only a boy. 
But she appreciates him because he is a ge- 
nius." Westphalen may also feel maternal 
toward Lucas because she's semi-estranged 
from her own daughter, "who's also a 
scientist. We've had mention of her; she's a 
biophysicist, and went through a rebellion, 
shaving half her hair off and dying the other 
half orange. Westphalen has had a couple of 
failed marriages; she just threw her hands up 
and decided, 'I think that I analyze fish bet- 
ter than I do men. and I think I should stick 
to polyps rather than — " She breaks off with 
a low chuckle. "No, I won't say that one." 

Beacham supposes that Westphalen has a 
very specific project in mind: searching the 
sea for new medicines. "She probably has a 
project going that hasn't yet been examined 
in the scripts. She would come up quite hard 
against some of the major chemical compa- 
nies, because there would be some very 
good healing properties, very cheaply har- 
vested in the sea. I don't want to toe the 
party line by saying this is not science 
fiction, but I have another term for it. which 
is "science future.' That means we can use 
our imaginations to a certain extent, having 
gotten the knowledge of what's in the works 





at the moment. We're going to be able to 
find the healing properties in the sea, and 
we'll be able to give the audience the 
understanding of why the oceans must not be 
dumped in, why it's important. This is not a 
preachy show; it should be exciting and 
lively, but I do think it gives us an 
opportunity to show people what is on our 
planet, and the possible future of our planet 
and its resources." 

Submarine Relationships 

As for the relationships between 
Westphalen and the other seaQuest crew 
members, and between Stephanie Beacham 
and the cast: "Westphalen completely 
disapproves of Krieg. He is the slime that 
should be removed from the bottom of the 
boat. Can you see that? That from any point- 
of-view, she deeply disapproves of that sort 
of opportunism. John D'Aquino himself 
seems absolutely enchanting, and is doing a 
terribly good job." 

A mention of Royce D. Applegate, who 
plays Chief Crocker, head of Security, leads 
Beacham to exclaim, "Oh, what a delight! 
He's an actor of integrity; he knows his 
character inside and out, and he knows the 
sea. He is a good, solid actor, an enjoyable 
acting partner — he's a nice person to be on 
the set with. 



"I come to work with some very jolly 
people. Roy Scheider has been a friend from 
the very beginning. For example, I didn't 
want to go to be interviewed by the network; 
I thought I had worked for NBC quite a lot, 
and didn't need to do that. But it became 
evident that this system was one that was 
well-oiled and would be used again, so I had 
to go to the network — and Roy came with 
me, and read for the network. This is not 
something you find every leading man 
doing." She hopes that the writers might 
explore a budding romance between 
Westphalen and Bridger — and word is that 
her hopes might be fulfilled. 

"Jonathan Brandis," she goes on, "is re- 
markably talented; he's going to be the Ron 
Howard of the future; there's not a single 
aspect of this industry he's not interested in. 
His intuitive responses to every single situa- 
tion are excellent; if I make any suggestion 
for our scenes, he listens properly, atten- 
tively, digests it, and we carry on from there. 
I'm full of respect for that boy. I'm well 
aware that his future is strong. 

"Have you met our little Marco 
[Sanchez] yet? The Val Kilmer/Jim Morri- 
son of our group. I think it's just a tragedy 
that we've cut his hair off, because he's a 
longhair by night. He's enchanting, opti- 
mistic, an energetic actor. 



STARLOG/May 1994 



29 




"Roy Scheider has been a friend from the very beginning," raves Beacham of her 
Captain Bridger. There may even be romance lurking beneath the waves. 



"And then you come to our little Teddy 
[Raimi]. He is — 'Why. Miss Jones, how dif- 
ferent you look without your glasses!' He is 
the male version of that N4iss Jones charac- 
ter. He's going to be Gary Grant when he is 
40 years old and stops believing that he's a 
geek. In the meantime, he is one of the most 
educated and informed and non-ego-bound 
actors that I've ever encountered." 

Asked about Stacy Haiduk. Beacham 
apparently pauses in thought. "She's an ab- 
solutely delightful girl. Stacy and I share a 
common problem of de-feminization on this 
show. I find it easier to get into the passion 
of my work: sometimes Stacy finds it diffi- 
cult to get into the passion of hers. She's the 
ship's engineer. When we jumped on board. 
I dashed to the Scripps Institute [a marine 
research lab] and met wonderfully dedicated 
and dotty women. I don't know that Stacy 
has been able to find her inspiration. 

"We're longing to have a scene together 
as characters. The two never speak to each 
other, and we would be the best of friends. 
She has a very important job on board ship, 
in a very male world: so do I. We should be 
best friends, and we're longing for that to be 
realized oh screen. This doesn't sound like 
criticism of Stacy, does it?" 

As for Don Franklin, Beacham points out 
that he has "had the dull part, 'i don't think 
we can do that, captain.' Well. I tell you. old 
Don can burst into an aria from any opera 
you wish to mention. And he's a wonderful 
dancer, which means that he's very flexible 
in movement, which means that he will be 
excellent at the fights. I think they're begin- 
ning to see that Don is someone they can use 
a lot. Apart from the fact that he has a 
propensity for giggling — which I share." 

Franklin revealed in a STARLOG PLAT- 
INUM EDITION #2 interview that one of 
the things that leads to him and Beacham 
falling into fits of giggles is the show's nec- 
essary, but sometimes perplexing, techno- 
babble. "You mean the stuff my nightmares 
are made of? I don't think it moves the 
audience other than to their channel 
changers." She admits that while it can be 
necessary, "if you're going to have a 



sentence that lies there like lead and is 
informative about nothing other than that 
you are a very boring person, then I have a 
problem with it, yes! I don't have a problem 
learning long lines, but I do have a problem 
making an emotional through-line, because I 
know unless you have an emotional through- 
line, you're not driving the story forward." 

Subsequent Possibilities 

On the other hand. seaQiiest can be edu- -6 
cational for the actors. "One of the best ^ 
things for me is that this woman is a PhD in .2 
genetics, and before I started this show, = 
DNA to me was "dinner not arranged.' I love £ 
the fact that I'm a biological oceanographer. | 
They told me at first I was a physical "t 
oceanographer. I'm not. Roy's a physical 1 
oceanographer. I'm a biological oceanogra- 2 
pher because otherwise I wouldn't need an S 
MD. and couldn't be the ship's doctor. £ 
Phew! I've got a bit of catching up to do. % 
hon! I've been wearing a lot of jewelry and ° 
worrying about my hemlines for years. To o 
get up to pace with the future of science and g 
medicine is causing Stephanie to scratch her 
head. I'm having a very good time." 

The series can be frustrating, though. 
Franklin said that he, Beacham and Scheider 
were looking for a name for the almost- 
acting that the show often requires, and 
Beacham has found one: "Alienation cra- 
padoodle. How to really make an audience 
not care. I am so frustrated by the lack of 
passion. Westphalen is passionate — about a 
little bit of seaweed. It's not that she needs a 
sex life — although I do think she could do 
with a little bit of. um. could have a cigarette 
on that note — she has a brilliant sense of 
humor, she's completely eccentric, and 
could we please begin to see some of this, 
and not have all this fact-speak?" 

What she likes best about seaQuest itself 
remains its "possibilities. I think everyone 
would agree that it hasn't fulfilled its possi- 
bilities yet. I don't think I'm being disloyal 
to a program that I completely adore. There 
are amazing sets, but the seaQuest is a }:>ack- 
groiind to what we are doing. Sometimes it 
has weighed us down, because there are cer- 



tain sets that are very difficult to film in. 
which makes our days very long. There are 
certain things that would be adjusted should 
we move to a second season, should we ful- 
fill the possibilities of this wonderful show." 
Beacham's first venture into televised 
science fiction wasn't seaQuest DSV. as Star 
Trei:: The Next Generation fans know. She 
was the Countess to the Holodeck's Profes- 
sor Moriarty (Daniel Davis) in "Ship in a 
Bottle," one of the syndicated series' most 
highly-regarded episodes. The role. 
Beacham remarks, "was tailor-made for me, 
wasn't it? It was delicious to play someone 
who thought herself so worldly and who was 
really so naive. Of course it was delightful to 
have such an old-fashioned encounter with 
the Captain. It was so intriguing, with the 
Holodeck idea, especially at the end, where 
we were trapped and didn't know it. Whoopi 
[Goldberg] was one of those who made it 
such an acceptable guest spot, and it was 
delightful to work with Patrick Stewart: I 
knew him already, but hadn't worked with 
him before. Altogether, it was one of the 
most entertaining guest spots one could do." 




"All the Integrity in the world would not 
keep my children fed," says Beacham 
(seated, left) of her motive for filming the 
low budget Inseminoid 

Even earlier, still back in England, she 
had appeared in The Nightcomers, director 
Michael Winner's nr&n^s prequel to Henry 
James' famous novella "Turn of the 
Screw" (itself filmed several times, most 
successfully as The Innocents). In this 1971 
production. Beacham starred opposite 
Marlon Brando, often regarded as the best 
movie actor ever. "We did improvisations 
that were not in the final cut that would 
make your hair curl." Beacham smiles. "He 
remains a very close friend to this day. and I 
treasure our friendship. He has an originality 
in his thought processes that — as I said. I 
treasure him." 

As for the director of The Nightcomers, 
"Oh. I adore Michael Winner! He's the rud- 
est man on Earth, and you may say that I 
said it. I have no fear that he has not read 
(continued on page 68) 



30 



STARLOG/Mav 1994 



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According to Hudson, Crow director Alex Proyas' worl< "was bizarre and strange. 
I was hoping all of that would come through in The Crow." 



Often a cop, Ernie 
Hudson upholds the 
other side of the law 
when there's "No 
Escape." 

By IAN SPELLING 

Ernie Hudson looked at No Escape 
(formerly titled The Prison Colony 
and The Penal Colony) as a vacation 
for himself and his family. Sure, it was a 
big-budget, rugged action film, but it was 
going to be shot in lovely Australia during 
the nicest part of the country's year, and to 
top it off. Hudson would be accompanied by 
his wife and kids. 

"Some vacation it turned out to be," says 
Hudson, laughing. "It was a tough shoot. We 
somehow managed to hit the worst case of 
bad weather they've had in years. They said, 
'It'll never rain. This is the winter, our dry 
season.' Right. We got a ton of rain, a lot of 
floods. We got soaked." 

But. in the best tradition of show busi- 
ness, the show had to go on, and it did. 

"We got it done," says the actor, a genre 
veteran whose credits include Spacehunter: 
Adventures in the Forbidden Zone, Levia- 
than and both Ghosthiisters films. "Wo £5- 
cape is a really big movi^. Gale Anne Hurd 
produced it and Martin Campbell directed it. 

"It's about a futuristic prison where there 
are five levels ranging from maximum secu- 
rity to maximum-maximum. There's one 
level with a warden who's just out of con- 
trol. He's played by Michael Lemer. who is 
wonderful. When he gets really fed up with 
you, he puts you on this remote island which 
no one knows about. It's impossible to get 
off the island." 

Taking Hudson's plot synopsis a bit fur- 
ther: Ray Liotta plays Marine Captain John 
Robbins who, in 2017, lands at the imposing 
Leviticus prison. He's then quickly banished 
by the Warden (Lemer) to Absolom, the se- 



32 



STARLOG/Ma>' 1994 



cret, primitive penal colony. On Absolom 
live hundreds ^nd hundreds of men. broken 
into two distinct groups: the Insiders and the 
Outsiders. The Outsiders are a brutal group 
who relish violence and wreak havoc on 
each other and the Insiders; the Insiders, on 
the other hand, are trying their best to re- 
deem themselves and attempt to lead a civi- 
lized life despite their surroundings and the 
constant threat of attack from the Outsiders. 

After being banished to Absolom and 
barely escaping the Outsiders and their fear- 
some leader Marek (Stuart Wilson), Robbins 
lands in Insider territory. There he meets the 
Father (Lance Henriksen). the Insiders' 
leader; Casey (Kevin Dillon), a dangerously 
overeager young man who idolizes Robbins; 
Dysart (Jack Sheperd). a scientist who works 
up escape plots; and Hawkins (Hudson), the 
Father's second-in-command and head of 
security. 

"Hawkins has been sentenced to life in 
this extreme prison environment with no 
hope for parole." explains Hudson. "His 
crime was multiple murder. My backstory is 
that it was a crime of passion, but Hawkins 
feels he should be in this prison, that he de- 
serves to be there. He has never really found 
a place to fit in, and somehow this prison 
colony is a place where he does. It's ironic 
that even though he's a prisoner, he's the 
head of security for his group-. That makes 
him a policeman enforcing rules — and he 
has spent his whole life fighting rules. 

"What makes the film work for me is that 
these guys somehow find a way to do what 
society has never been able to do for them, 
and that's get them to live together in some 
kind of peace and harmony. Outside the 
colony, on the same island, there are other 
prisoners who are totally at the other ex- 
treme. Some have gone cannibalistic and re- 
sorted to other such acts. But my group, 
which numbers about 100 people, have 
found some redemption. Their little society, 
which they call the Community, depends on 
each other." 

Fantastic convict 

No Escape brings together a rather 




Life is tough for Ernie Hudson on the Inside— even when the "inside" is outside and 
there Is No Escape. 



unique assemblage of familiar genre names 
and faces and blends them with Liotta, best 
known for such films as GoodFellas. U n- 
lawfiil Entry and Field of Dreams. Henrik- 
sen. a longtime fan favorite, has starred in 
numerous genre entries ranging from 
ALIENS to The Right Stujf (STARLOG #77, 
#121 & #179), while Lerner appeared in 
Strange Invaders and Anguish. Dillon 
earned his genre stripes battling The Blob. 
"We had a terrific cast." enthuses Hudson. 
"Michael Lerner is great as the Warden. 
Lance as the Father is wonderful. Kevin is 
very good, too. About half the cast was 
British. There are some really good charac- 
ter actors who you've seen in everything. 

"Ray is great in the film. I had done a TV 
movie with him for ABC in 1979 called 
Crazv Times. It was Ray, David Caruso, 
who's now so hot with NYPD Blue, and 
Michael Pare. I like Ray. but he's very 
private. This was his first action movie and 
he was very committed to the character and 
the film. Some people found him a little 




"What makes [No Escape] work for me is that these guys somehow find a way to do 
what society has never been able to do for them," comments Hudson. 



distant. Many of us spent time together when 
we weren't shooting. Ray wasn't a part of 
that. Some people resented that, but I 
understood what he was doing and where he 
was coming from." 

Hudson knew of producer Hurd 
(STARLOG #200) only through her track 
record, which includes pulling off such big- 
budget epics as Terminator, The Abyss and 
ALIENS. When he arrived at the No Escape 
set in Australia, where the shoot was already 
under way, and met Hurd for the first time, 
Hudson discovered she was different from 
what he anticipated. 'T had this image of 
her," he admits. "She had done such big 
movies, so I expected this tough, ballsy 
woman. And she's very feminine and very 
much a lady. It was disarming. I'm sure, 
doing what she does, she has to be tough and 
ballsy, but she never showed that hard side 
to me. I really like her a lot." 

Director Martin Campbell was another 
story entirely. The New Zealand-bom direc- 
tor has jumped back and forth between 
British and American film and television 
projects. His T'V credits include Britain's 
Reillr. Ace of Spies and episodes of the ac- 
claimed American series Homicide, while 
film credits include Criminal Law. Defense- 
less and the Hurd-produced HBO supernatu- 
ral thriller Cast a Deadly Spell. "Martin is so 
offensive," says Hudson, "and he knows it. 
When I last saw him, we sat and laughed 
about it. He yells a lot and curses a lot and 
throws these temper tantrums. I kept hoping 
he would never direct that towards me. To 
me, at first, it was very uncomfortable. I 
didn't understand why he was so emotional 
about everything. 

"He'll go off the deep end and then he'll 
laugh about it. Most of the crew had worked 
with him before, so they knew him and they 
got it. It took me a while to get it, but Lance 
[Henriksen] never got it. He hated Martin's 
guts until the very end, when we all went out 
to dinner one night and laughed about it. 
He's really a gentle guy, very perceptive. 



STARLOG/Mav 1994 



33 



"^mmm 



Sji^ 



^ 







jfjiMtiii 



and he was wonderful at doing this big ac- 
tion movie. It has got a lot of action, but it 
has a strong story, too. We've got a good 
cast. So. it could be great." 

Amazing Chostbuster 

Between his last STARLOG interview, 
published in issue #98. and No Escape. 
Hudson has appeared in several genre films, 
most notably Ghostbusters II. Leviathan. 
The Hand That Rocks the Cradle and The 
Crow, as well as the "Food for Thought" 
episode of Tales from the Crypt. Though 
he's still recognized for his work as Winston 
Zeddemore in the Ghostbusters movies, 
Hudson has mixed feelings about the 
experiences. He loved being included in the 
projects and liked his co-stars, but felt 
Zeddemore was underutilized in both adven- 
tures. "I was impressed with the first one's 
creativity but was disappointed with my 

IAN SPELLING, veteran STARLOG corre- 
spondent, writes the New York Times 
Syndicate column "Inside Trek." He 
profiled Siddig El Fadil in STARLOG #201. 



involvement. They cut a lot out and there 
wasn't much there to begin with," he argues. 
"It was very hard to find a place in between 
the other guys. I felt very much more a part 
of the second Ghostbusters. but I was more 
disappointed in the movie. 

"I felt that after waiting five years to do 
it. they should have come up with something 
more original. The first one was so original, 
and I don't think there has really been any- 
thing quite like it since. The second one was 
more of an effort to repeat the first one. 
That's a real trap, especially for creative 
people." 

Still, there were plenty of upsides to be- 
ing a Ghostbuster. Millions of moviegoers 
saw Hudson's work, as did Hollywood's 
power players. Hudson got a laugh out of 
seeing himself immortalized as a plastic 
play-action figure and was pleased that the 
toy sold well. But the high point of being a 
Ghostbuster. he explains, was being part of 
such a national and international phe- 
nomenon. "It was so big," he says. "So 
many films come and go and get very little 
attention. It was nice to be part of such a 



success. Even all these years later, people 
still know the films, still want to talk about 
them. That's unusual in this business." 

Leviathan, directed by George P. (Tomb- 
stone) Cosmatos, definitely missed the mark 
and few people talk about it these days. In 
the film, which starred Peter Weller. Amanda 
Pays and Richard Crenna, Hudson portrayed 
Jones, one of several underwater miners 
dealing with a murderous creature beneath 
the Atlantic. "I liked Leviathan, but they 
made a big. typical, Hollywood mistake," 
notes the actor. "We were doing this under- 
water ALIEN, and word got out it was 
happening. Suddenly, three other similar 
films — DeepStar Six, something else and 
The Abyss — came out at about the same 
time, and we weren't first. With something 
that specialized, after you've seen one, that's 
enough. By the time Leviathan came out 
[after DeepStar. before A/jv55]. it didn't do 
well. But Leviathan was fun and it was all 
right for what it was. I liked the actors." 

Hudson notes that genre films like the 
Ghostbusters features and Leviathan some- 
how tend to land on his doorstep quite often 



34 



STARLOG/.Wav 1994 





and that that's fine with him. so long as the 
story is solid and the role intended for him is 
decent. As for special FX. he believes they 
can enhance a film, but cautions that, mis- 
used (or overused), FX can overtake a story 
and actors. "When we started Ghostbusters 
II. they said Slimer was going to be a major 
factor in the movie. Everyone was like. 
"Come on!' As it turned out. he only had a 
cameo," he notes. "You don't want to be a 
slave to the special FX. but if they can en- 
hance what you're doing or give a film a 
special look, they're great. They can really 
take a movie to another place." 

The Hand Thar Rocks the Cradle cast 
Hudson as Solomon, a gentle, mentally- 
impaired handyman who faces off against 
Rebecca DeMornay's nanny from hell. 
"That was really a surprise hit." he says. "I 
didn't think it would get much of a follow- 
ing. I thought [director] Curtis Hanson did a 
brilliant job of taking an OK script and mak- 
ing a good movie. Curtis was open to listen- 
ing to the actors. He would take your idea 
and build on it. He really directed the film 
well. Rebecca and everyone else made major 



"When we got together to do The Crow, we had time to talk," recalls Hudson of the 
late Brandon Lee. "He really had settled in and gotten his life together." 



contributions, but it was Curtis' vision that 
made Cradle such a special film.'' 

Haunted Cop 

Another movie in which Hudson appears 
is Alex Proyas' ill-fated The Crow, during 
the filming of which star Brandon Lee (CS 
#37) was accidentally killed when a prop 
gun discharged a metal fragment that ripped 
through the actor's body. Hudson was play- 
ing Albrecht, a cop assigned to investigate 
the brutal, gruesome slaying of a musician 
(Lee). "I'm a good cop, but I don't know 
protocol and I get too involved," Hudson 
explains. "Brandon's character had been 
shot and thrown out of a window, and his 
girl friend had been brutally raped and shot 
and God knows what else. A year later, I'm 
still haunted by it, so I continue to investi- 
gate on my own. I know who did it, but I 
can't quite prove it. Then. Brandon's charac- 
ter comes back from the dead and. after a bit 
of trepidation. J befriend him. There were 
some nice moments with Brandon." 

Hudson was not on the North Carolina 
set the night of the accident. His brother-in- 
law had died unexpectedly, so he was away 
for the funeral. Hudson and his family had 
just gotten back from the service when his 
phone rang. It was a friend asking what hap- 
pened to Lee. "I didn't know anything about 
it because we had been flying." says Hudson. 
"I met Brandon in 1988 or 1989. through 
Miguel Ferrer, who was doing a TV series 
for Stephen J. Cannell up in Canada. Bran- 
don wasn't doing the show, but he was a 
good friend of Miguel's and was hanging 
out on the set. At the time, he was a neat kid 
who was doing his own thing, not being 
particularly responsible. 'When we got to- 
gether to do The Crow, we had time to talk. 
He really had settled in and gotten his life 
together. He was supposed to get married 
right after the film. He had grown up and 
was a very nice young man. It was a waste." 

When the Crow set shut down in the af- 
termath of Lee's death, it was early April 



1993. The production remained shut for 
about six weeks, until the middle of May. 
"Everybody felt it was very important we 
finish the movie." remembers Hudson. 
"Initially. I didn't want any part of it. But I 
decided to finish it and went back down to 
North Carolina. It was horrible in some 
ways, very strange. I did it in a couple of 
weeks and worked with the double they got 
for Brandon." 

Calling the shots once again in the effort 
to salvage The Crow was young director 
Proyas. "I've said this to him. so I don't 
hesitate telling you and. hopefully, it won't 
come off sounding too negative. Alex sent 
me a copy of his demo reel when I signed on 
to do The Crow," Hudson recalls. "It was 
bizarre and strange and I was hoping all of 
that would come through in The Crow. He's 




As Winston Zeddemore in the Ghost- 
busfers films, Hudson was catapulted Into 
the limelight. "It was nice to be part of 
such a success." 



STARLOG/Mm- 1994 



35 




"It was very crazy, very wild and a lot of fun," raves Hudson of the Great ZambinI, his 
sinister clown In Tales from the Crypfs "Food for Thought." 




Everyone has to have their SF baptism-by-fire, and Hudson's came in Spacehunter: 
Adventures in the Forbidden Zone. 



very creative. The problem on The Crow 
was there was a lor of pressure. It was 
Alex's first big film in America. The studio, 
as studios always do, didn't want to spend a 
whole lot of money. So, Alex was under 
pressure, and you could feel it. He was open 
to suggestions. He was fun to work with, but 
you got the feeling he was thinking about a 
lot of things. 

"When we came back after the accident, 
it was as if Alex had made a new resolve. He 
was really a very, very different person. Ob- 
viously, the accident had a lot to do with 
that. He told me that he told the studio, 'If 
I'm going to finish this, I'm going to do it 
my way." Everybody got that. When he 
really took charge, it was a real pleasure. I 
thought it was unfortunate we didn't have 
that from day one. I haven't seen the film 
yet. Hopefully, it came out all right." The 
movie's now expected to see release next 
month. 

Sinister Clown 

Moving on to more upbeat topics, there 
are Hudson's most recent efforts. In the 
"Food for Thought" episode of Tales from 
the Crypt. Hudson played the Great Zam- 
bini. a sinister circus clown able to project 
his evil thoughts into the mind of his wife 
(Joan Chen). "It was very crazy, very wild 
and a lot of fun. Joan was great. I enjoyed 
working with her," he says. "She falls in 
love with another guy in the circus and I kill 
him. I hate her. I married her, but I have no 
feelings for her and I just use her. The direc- 
tor and I didn't really see eye to eye on 
this — I saw the character as more in pain 
than just total evil. Maybe he had too much 
feeling for her. To be honest, I haven't seen 
all of it. I hope it's good. I've run into peo- 
ple on the street who tell me they like it." 

In addition to No Escape, Hudson has 
Airheads ready for release. In that one, he 
plays a Los Angeles cop who mediates a 
hostage situation started by a trio of imbe- 
cilic musicians who infiltrate a radio station 
to broadcast their music. Come June, the 
actor will be seen as yet another cop in The 
Cowboy Way. "That has Kiefer Sutherland 
and Woody Harrelson. and it should be fun 
and light. I play a guy who always wanted to 
be a cowboy," he explains, "but ended up 
being a mounted policeman in New York 
City. That's as close as he has come to being 
a cowboy. I meet Kiefer and Woody, two 
cowboys who don't have their act together, 
but they're living my dream. -So. I help them 
and get caught up in their whole adventure." 
Next up for Hudson is the film Domin- 
ion, a project about which the actor is very 
excited. "It's kind of like that Burt Reynolds 
movie. Deliverance." he reveals. "Some 
guys go on a hunting trip and strange things 
happen. That's all I'm going to say. It's a 
big action movie and it should be a lot of 
fun. Prism Pictures just got the financing for 
it and we should be starring soon. The best 
part is that it'll be my first starring role. I've 
done a lot of supporting stuff, and that's 
fine. But I want my shot at some starring 
roles. Dominion is iny first. It's about time, 
and I hope it's a sign of things to come." f? 



36 



STARLOG/Mav 1994 



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straight out of Remulak, the Coneheads are headed toward Earth to consume mass 
quantities in their own Marvel Comics series. 



Where else would the Coneheads go on 
vacation but France? 



IS Earth ready for the heroes from Remulak? 



With pointed heads and alien 
manners, they consumed mass 
quantities on Saturday Night Lire. 
Last year, they relocated to silver screen 
suburbia, the perfect place for car chases and 
better special FX. And now. The Coneheads 
are starring in their own limited series from 
Marvel Comics. 

Artist Tom Richmond is happy to be 
aiming his pencils at those zany immigrants 

KIM HOWARD JOHNSON, veteran 
STARLOG correspondent, authored Life 
Before (& After) Monty Python (St. 
Martin's. $15.95). He profiled Terry Gilliam 
in STARLOG #200. 



By KIM HOWARD JOHNSON 

from Remulak. The former Married. . .With 
Children regular decided to go from one 
strange TV family to another when Marvel 
called him. 

"I was contacted by Hildy Mesnik, an 
editor at Marvel," explains Richmond. "She 
had seen my work on Now's Married. . .With 
Children comic book. I had been doing that 
comic on and off for a couple of years, and 
she was taken with my caricature-oriented 
style. I sent her some work, she called and 
told me I had the job. We"ve been going 
from there!" 

Richmond was a fan of the Coneheads 
sketches on Saturday Night Live for many 
years before he got this job. though he 



wasn't introduced to them until years after 
they originally aired. 

"I've seen a lot of reruns." he says. "It 
was one of my favorite bits from the original 
Saturday Night Live crew, I had just barely 
seen the movie when Hildy called. I enjoyed 
the movie quite a bit, so I was quite excited 
about being on Coneheads, as I'm an SF 
buff in general.'" 

The TV, film and four-color Coneheads 
will engage fans in different ways. "The film 
has a different appeal than the skits used to 
have," Richmond muses. "The TV skits 
were outrageous in terms of the Coneheads' 
bizarre mannerisms. The film is more an SF 
story. The budget allows them to go to the 



38 



STARLOG/Mav 7994 




"He [Dan Aykroyd] has been quite supportive — it was on his recommendation that I 
got the job!" says Richmond. 



I MAVE (a^tY THEie 
WELL-eeiNr? IN MllvIC? 



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THEY C^li MOr 
OF wy OFFIi^E. 



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STILL THE AAQ^^E5 



"it's essentially a sequel to the film," observes Coneheads artist, Tom Richmond, 
who has also adapted Married. . .With Children for Now Comics. 





planet Remulak and have more fun with that 
aspect of it. instead of just featuring them in 
the living room consuming huge quantities 
of food. 

"Its appeal has to do with the general 
silliness of Coneheads. It was originally in- 
tended as a satire of foreign people and their 
struggles in this country, and this takes it to 
the nth degree. They're totally foreign to the 
planet and trying to blend into society, and 
it's a lot of fun!" 

"They're totally 

foreign to the planet 

and trying to blend 

into society." 

Marvel's Coneheads limited series is the 
product of both the TV sketches and the fea- 
ture film, though it leans heavily toward the 
movie for inspiration. "It's essentially a se- 
quel to the film," Richmond observes. "It 
picks up right where the film leaves off and 
develops the story a little bit further. All of 
the movie's characters are going to be incor- 
porated into the comic. 

"The Coneheads are back on Earth with 
their green cards, and they're not being has- 
sled by the I.N.S. anymore. Apparently, 
some of the higher-ups on Remulak get the 
idea that maybe Beldar wasn't killed in that 
explosion at the film's end, and they dis- 



patch a couple of Coneheads to Earth to find 
out what happened. 

"In the meantime. Beldar has decided to 
take his family on a vacation, and naturally, 
where do they want to go, but France? So, 
they're on their way to France, and have lots 
of fun adventures in the meantime. There are 
two plots going on at once — there are Cone- 
heads from Remulak looking for Beldar, and 
the mishaps of the family on vacation. It's a 
very interesting story — Terry Collins, the 
writer, did a great job on it." 

Creator Dan Aykroyd took an active in- 
terest in the comic book adaptation. "Dan 
Aykroyd, Broadway Video and [5A'L/film 
producer] Lome Michaels have a lot of input 
as to what goes on," Richmond explains. 
"They approve it every step of the way. 
They read the plots, look at the artwork and 
approve the final scripts. Aykroyd. being 
one of the creators as well as one of the 
stars, is right there, so every word passes 
under his nose. He has been quite supportive 
of the whole project. I guess he has been 
quite taken with my artwork, and it was on 
his recommendation that I got the jobl So, 
I'm grateful to him." 

Thanks to his experience adapting Mar- 
ried. . With Children, Richmond isn't having 
trouble transforming the Coneheads into 
four-color heroes. 

"I'm not having any big problems with 
it," he notes. "My style has kind of a Mad 
(continued on page 68} 



Beldar's enemies on Remulak know he's 
alive, and they want his cone. 

STARLOG/May 1994 39 



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■^ 



The year is 2258. The 
place is Babylon 5, a self 
sufficient, five-mile- 
long, United Nations-like 
space station that acts as 
neutral ground for the 
galaxy's various alien 
federations. On Babylon 
5, representatives from 
the five major powers 
come together, each 
with their own unique 
objectives. 

In addition to the 
Earth Alliance, there's 
the Narn Regime, 
led by the manipula- 
tive reptilian Ambas- 
sador G'Kar, the 
mysterious Vorlon 
Empire and its agent 
Ambassador Kosh, 
the Centauri Repub- 
lic, represented by 
the debauched Ambas- 
sador Londo, and the 
Minbari Federation, with 
its delegate Ambassador 
Delenn. 

The Minbari may well 
have the most elusive agenda 
of all. Once at war with Earth 
they mysteriously surrendered just 
when victory was within their grasp 
The Earth soldier who holds the key to 
that final battle is Jeffrey Sinclair, comman- 
der of Babylon 5, but the secret is somehow 
locked away deep in his memory. Now, several years 
later, the Minbari race is being torn apart by different military 
and religious factions. Delenn is sent to Babylon 5, but whether her 
presence is to promote universal peace, or keep a watchful eye on 




Sinclair should the Minbari secret 
emerge, remains to be seen. 

\.:^^^^^^^ Extraterrestrial 

Faces 

While playing an alien 
ambassador in Babylon 5 
may be a new experience 
for Mira Furlan, some 
of the ideas and con- 
flicts contained in it 
are not. Only two 
years ago, the well- 
known Yugoslavian 
actress and her di- 
rector husband emi- 
grated to the United 
States to escape the 
increasing hostilities 
that were tearing her 
country apart. 

"It's impossible to 
stay neutral," Furlan 
explains, "particularly 
when you're a public 
figure as I was. Because 
I lived in Zagreb 
[Croatia] and my husband 
lived in Belgrade [Serbia], 
there were people on both 
sides who wanted me to pub- 
licly say things in their defense. 
Because I refused to take sides in 
their propaganda, life just became 
impossible there, and so my husband and 
I came over here. I don't think war is the 
answer to anything." 
Although the prospect of finding work in America 
wasn't high on Furlan's list of priorities at first, she quickly real- 
ized she would have to earn a living in this new country. "Because I 
had a list of credits, I had solid experience in my hands, in the 



For Mira Furlan of "Babylon 5," working in outer space isn't quite so 

strange as living in Los Angeles. 



By JOE NAZZARO 



STARLOG/Ma>' 1994 



41 



form of my films, so that was the start of 
everything. Of course. I found out that 
without an agent, you don't exist, so that had 
to be resolved. 

"The language, of course, was the major 
difference, but I don't think acting is just 
saying your lines. It's much more than that, 
but I was still very happy I could cross that 
border of language. Babylon 5 was actually 
the first job that I got. and I was very happy 
to be doing it." 

When the producers of Babylon 5 began 
casting the part of Ambassador Delenn. the 
character was originally meant to be androg- 
ynous, so they decided to audition women. 

■'I'm not aware of the number of people 
who auditioned for it." Furlan admits, "but 
they were holding auditions in both New 
York and Los Angeles, so it was quite a big 
thing. After reading the script, I had a vague 
idea of what they were looking for, but how 
you do it is always up to you. Nobody tells 
you anything, so it's up to your own in- 
stincts." 

Even before she landed the part, Furlan 
had been told her appearance might be 
heavily altered by makeup. What she didn't 
realize was the countless number of tests 
that would have to be done before a final 
design was selected for Delenn. "I knew 
what was going to happen, because they told 
me while I was auditioning, but I didn't 
know what it was going to be like. I had 
never had a mask on my face before, so I 
couldn't imagine the feeling, and of course 
it's not easy. The process requires a lot of 
adjustments, not only in the way of physical 
endurance, but also psychologically, because 
you have a new face. All at once, you are 
transformed into something completely dif- 




Never has there been a more wretched hive of scum and villainy than this fifth 
Babylon station, and these ambassadors must carve their own stake. 



ferent. so you must somehow psychologi- 
cally adjust to that." 

In addition to the three hours-plus a day 
she had to spend in the makeup chair during 
the Babylon 5 pilot's lensing. Furlan also 




"You don't really know what the relationship Is between Delenn and Jeff Sinclair 
[Michael O'Hare]," Furlan cryptically states. "Or what It could be." 



found out that her voice was going to be 
electronically altered in post-production, 
giving it a more unusual quality. 

"It's a tough thing when there's so little 
left of the actual you." the actress reflects, 
"and the means you use in acting. I only 
heard a little bit of it — they showed me how 
it was done — and I really couldn't absorb 
what I was hearing. It was difficult to sort it 
out in my head. The voice was so much out- 
side me that I didn't know whether or not it 
would be a useful thing for my character. 
The restrictions which one had to get 
through and do the actual scene were incred- 
ibly large." 

Foreign Lands 

While the pilot was being shot. Furlan 
and her husband were also getting accus- 
tomed to the idea of living in California. 
While the actress had visited New York 
years earlier and enjoyed the experience, she 
found that in many ways. LA was as much 
an alien place as Babylon 5. 

"It was a completely foreign way of life 
to anything I had ever experienced!" laughs 
Furlan. describing her early perceptions of 
LA. "It was the feeling of not being able to 
walk, of being cut off from other people. 
You don't see people, simply because there 
are no streets where they can walk. That was 
definitely a culture shock, much more so 
than New York, which felt like a home to 
me. The moment I stepped onto the streets 
of New York, I feh at home. 

"With Los Angeles, there was just this 
horrible emptiness. There was this feeling of 
no substance, but that's the reality. I was 



42 



STARLOG/Mav J994 



thinking maybe New York gives you the 
impression of incredibly living stuff going 
on. but it doesn't have anything to do with 
you. It depends on how your life develops." 
Despite the problems of acclimating to 
her new surroundings — in California and in 
outer space— Furlan enjoyed working on 
"The Gathering." the two-hour pilot for 
Babxlon 5. In particular, she singles out the 
script by series creator J. Michael Straczyn- 
ski, and the work of co-star Michael O'Hare. 
who plays Jeff Sinclair, as particularly 
important to her. 

"The way the scenes between us were 
written was very important." she observes. 
"You can't do anything without a good basis 
in what's written. There were so many layers 
in the script, such as the mystery about my 
character. Also, you don't really know what 
the relationship is between Delenn and Sin- 
clair, or what it could be. and we tried to 
keep that as mysterious as possible." 

While the pilot received an unenthusias- 
tic response from T'V critics, ratings were re- 
spectable enough for Warner Bros, to order a 
22-episode series for syndicated airing. Un- 
fortunately, that decision took several 
months to make, which meant the cast, most 
of whom were still under contract, could do 
little more than sit and wait. 

"The waiting was very difficult." Furlan 
remembers. "We weren't really able to plan 
anything, because we knew that everything 
could suddenly change, and it was all com- 
pletely out of my (Ibntrol. The only thing we 
were able to do was accept that, and wait to 
see what happened." 

In the interim, the actress appeared in a 
limited engagement of Yerma at the Indiana 
Repertory'Theater in Indianapolis, making 
her American theatrical debut. For the clas- 
sically trained Furlan. to be back on stage 
was almost like going home again. 

■Tt was a known comfortable ground for 
me. and I found it a great relief because it's 
basically the same discipline, even here in 
America." 

Thinking about the difference in cuhures 
reminds Furlan of the strife still going on in 
her homeland, which is played out on her 
T'V screen every night. Desphe the distance 
between her and Yugoslavia, those conflicts 
are hard to forget. "It's very difficult and 
disturbing, and that part of you can't really 
be cut off. You're still part of it in a sense, 
because you've spent the majority of your 
life there. The images are still disturbing to 
look at, but because we have our own 
problems over here, and there's simply so 
much to be done, you just can't cry over 
these horrible events going on. There are 
things that distract you from thinking about 
it, which is a blessing. Otherwise, you can 
spend your whole life thinking about how 
sad it is, and how your life has been 
destroyed." 

Immigrant Experiences 

Furlan. one of Yugoslavia's foremost 
actresses, was bom in Croatia, and trained at 
Zagreb's Academy for Theatre. Film and 
Television. It wasn't long before the talented 
Furlan beaan to establish herself in all three 




As the Minbari Ambassador Delenn, Mira Furlan brings an ethereal elegance to the 
window of the galaxy, Babylon 5. 



areas. Her theatrical credits include Helen. 
Three Sisters. Alpha-Beta, which earned her 
a Theater Critics Best Actress of the Season 
Award, and A Month in a Country, which 
won the Dubravko Dujsin Award (the 
highest honor in Croatian theatre) in 1991. 

On television. Furlan appeared as a series 
star in Tales From Sarajevo. A Better Life. 
The Proud City and The Little Big Town. 
Among her notable film credits are Heads or 
Tails, The Beauty of Sin, which earned 
Furlan a Golden Arena Award (the Yu- 
goslavian Oscar) for Best Leading Role, 
Cxclops (another Golden Arena, for Best 



Supporting Role). Three for Happiness, 
winner of the Grand Prix Award at the 
'Valencia Film Festival, and the Oscar-nomi- 
nated When Father Was Away on Business, 
which won the Palme d'Or at the Cannes 
Film Festival. 

Following the outbreak of war in Yu- 
goslavia. Furlan' s decision to appear in a 
Belgrade-based theatre production placed 
her in the midst of a heated political debate 

JOE NAZZARO. veteran STARLOG 
correspondent, profiled Colin Baker in issue 

#20 L 



STARLOG/.Way 1994 



43 




Every port-of-call has its dark corners, and on Babylon 5, a "Soul Hunter" prowls 
those dark corners — for Delenn. 



in her native Zagreb. A dismissal from thie 
Croatian National Theatre soon followed, as 
well as a series of published articles that 
amounted to a public lynching for the 
actress, who had tried to remain neutral. 

As the political situation continued to 
worsen, the "Mira Furlan debate" raged on, 
resulting in personal threats to her life, and 
the alienation of her friends and community. 
With neutrality impossible to maintain, 
Furlan and her Serbian-born film director 
husband decided to emigrate to America and 
start over. 

One of the first obstacles the couple 
faced was the major differences between the 
two cultures, which made working in Amer- 
ica even more difficult, especially for her 
husband Gordon. "Everything we did was in 
a different language, and had a completely 
different look. Gordon has made two fea- 
tures here, including a full-length documen- 
tary, but people either can't connect with 
it, or they don't understand it. Those who 
can overcome the difference in its look find 
it interesting, and they're the people who 
have an interest in his work and can help 



him. It's very hard, but I suppose those are 
the immigrant blues." 

The announcement that Warner Bros, 
was greenlighting Babylon 5 as a series was 
followed by even more good news for 
Furlan. The producers had decided to make 
Delenn a female, which meant no voice en- 
hancements and a new, more feminine- 
looking makeup. The actress met with 
makeup artists Everett Burrell and John 
Vulich from Optic Nerve Studios (respon- 
sible for The Dark Half), and together they 
came up with a considerably different design 
from the original. 

"We tried several different versions of 
the new makeup, including one that had a 
chin piece like the original, but then we de- 
cided it looked better without it. It didn't 
happen overnight, and of course I was a part 
of it. I went to see the Optic Nerve guys, we 
discussed the makeup, tried it, and then they 
changed it several times. The one they fi- 
nally decided upon seems to be working OK 
from various angles — artistic and comfort- 
able-ness. 

"The actual makeup time is also much 



shorter. The original pilot makeup took over 
three hours to apply, but this one is about 
two-and-a-half hours. They're really taking 
care of us. although the pilot was exploring 
new territory, and the guys who did the 
makeup for the pilot really deserve our grati- 
tude. I don't know why they didn't get the 
series, but there are many stories about peo- 
ple who were in the pilot, but who are not in 
the series itself. I really have no idea what 
happened." 

One of the biggest revelations Furlan has 
found working on Babylon 5 is the speed at 
which the series is shot. "It's incredible, the 
quickness of it." she declares. "It's amazing; 
everything has to be done in such a short pe- 
riod of time. 

"Unfortunately, that means there just 
isn't much time for discussion, conversation, 
questions or rehearsals, or things like that. It 
is very quick." 

Despite the fast pace of filming, the ac- 
tress still tries to get in as much rehearsal 
time with her co-stars as possible. "We do, 
we try. You must steal that time; make that 
time for yourself, because it won't be given 
to you. Of course, coming from Yugoslavia, 
the films took so long to shoot that time al- 
most didn't exist. I'm still amazed at the 
quickness necessary for television here." 

Alien Encounters 

It's obvious from her enthusiasm that 
Furlan enjoys working with her fellow cast 
members on Babylon 5. although she's a bit 
embarrassed at hearing co-star Michael 
O'Hare's comment [in STARLOG PLAT- 
INUM EDITION #2] that "looking into 
Mira's eyes makes my job easier." "That's 
very nice of Michael. I think that's because I 
know how to listen!" she laughs. "I like that 
part of the job very much; just being there 
and listening to the other actor, to feel what 
he's trying to be, or what he's saying or do- 
ing. I guess that makes it easier. 

"I also love working with Bill Mumy 
[STARLOG #161], who plays my assistant 
Lennier. We have a lot of scenes together, 
and he's a very nice man. I haven't worked 
much with Claudia [Christian] yet, or had 
anything to do with the new telepath 
[Andrea Thompson] and the new doctor 
[Richard Biggs], but I wish them all the best. 

"With the other ambassadors, we haven't 
been doing that much together, unfortu- 
nately. We belong to different worlds in the 
series, so we never actually get together, ex- 
cept in these conferences, where we meet 
only as ambassadors. My character doesn't 
have a particular relationship going on with 
any of them that needs to be explored." 

One area that may be explored in the se- 
ries now that Delenn has been established as 
a female is her relationship with Sinclair, as 
well as the other characters in the series. 
Don't expect any help from Furlan, though, 
who's not dropping any hints about what 
viewers will see in the future. 

"She's certainly being written in a 

slightly different way now, although the 

character's mysterious quality is still there. I 

never really know how much I can say about 

(continued on page 70) 



44 



STARLOG/Mav 1994 




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"The 

Tiles." David DuchovrlV 

' searches for the truth 

out there. ^ 

By MARC SHAPIRO 



HUgggUi 



T 



he truth is out there, according to the 
tag line included in each episode of 
the science-fiction/science-fact TV 
series The X-Files. Well, getting the truth 
from the unknown turns out to be a great 
deal easier than getting detailed information 
from X-Files co-star David Duchovny. 

"People ask me questions about this 
show that always confuse me," says the ac- 
tor. "I mean, what do / know about ratings 
except for the fact that being on the Fox 
Network, they're never going to be very 
high? And I'm always being asked to de- 
scribe my character. My answer is that if 
you watch the show, you'll leani about my 
character. Just watch the show. If I have to 
explain my character to you. then the show 
is not working." 

Duchovny can be forgiven for his confu- 
sion. You would be a little frazzled too if 
you had just spent the last four months deep 
in a Canadian winter and, just as often, in 
the woods. But between scenes, the actor 
can't really explain why the ratings haven't 
been interstellar. As he points out, they can't 
be — simply because Fox stations don't reach 
as much of the country as its older network 
rivals. Nevertheless, good word of mouth 
and positive critical response have kept The 
X-Files alive. And Fox has already picked 
up the series for a second season. 

Nobody is more surprised at this chain of 
events than that power of positive thinking. 
David Duchovny. 




Some things are meant to be hidden from the prying eyes of man— or 
David Duchovny will find the truth buried in The X-Files. 



are they? 




"I didn't see this show lasting very long," 
he confesses. "I didn't see any continuity 
and I did see some difficulty in making this 
series good, in that each show had to stand 
on its own. I thought there would be a prob- 
lem in the fact that this show was essentially 
an anthology, and that the only real constant 
was these two continuing characters. Need- 
less to say. The X-Files is having a longer 
life than I expected, and I'm really sur- 
prised." 

Well, not totally. Duchovny, during a 
relatively uneventful audition process on the 
way to landing the role of Fox "Spooky" 
Mulder, marveled at "a well-written pilot 
script'' and generally thought "the show was 
way out there." But the ever-present devil's 
advocate felt that an emphasis on investiga- 
tions concerning unexplained phenomena 
also held some potential pitfalls. 

"I felt going in that doing UFO stories 
even- week would get old pretty quickly," he 
declares. "And when I read the pilot, I as- 
sumed the show would be only about UFOs 




"There's more to my character than a man with a mission," says Duchovny of Fox 
ti/lulder. "Sometimes I think we forget that Mulder has a sense of humor." 

STARLOG/May 1994 



47 




and extraterrestrials. I had no idea that it 
would branch out into other areas. But when 
I saw that the second episode was about a 
serial killer who ate livers, I knew we were 
in business." 

The business of playing Mulder, a gov- 
ernment operative who. with associate and 
frequent disbeliever Dana Scully (Gillian 
Anderson), has, according to Duchovny, 
evolved along with the series. 

"There's more to this character than just 
a man with a mission,'" he offers. "And each 
script attempts to draw out a bit more of his 
human side. Some weeks I'm happier than 
others at what personal sides of his character 
I get to bring in. 

"Sometimes I think we forget that Mulder 
has a sense of humor and that we could be 
making him funnier than he is. I've noticed, 
as the season has progressed, that there has 
been an increase in his intensity. That's OK, 
but I'm already missing what he was like in 
some of the earlier episodes, when he was 
capable of going back and forth between 
moods much more easily." 

MARC SHAPIRO. STARLOC's West Coast 
Correspondent, authored When Dinosaurs 
Ruled the Screen {Image. $12.95). He 
profiled Gale Anne Hiird in issue #200. 



But Duchovny claims that his own per- 
sonal acting challenge on The X-Files comes 
in the interaction with the phenomenon of 
the week, whether it be an alien life form or 
a killer computer. 

"From an actor's point-of-view, it's hard 



to be in search of the most important thing in 
the world exery week," he explains. "I've 
had to make gradations on how much these 
things really mean to Mulder. It all boils 
down to projecting bigger or lesser emotions. 
I've basically had to decide every week 
whether I'm up against the Holy Grail or the 
Shroud of Turin and then act accordingly." 

Secret Relations 

Key to the success of The X-Files has 
been Mulder's love/hate relationship with 
the FBI. CIA and occasional shadowy en- 
tries in the government's alphabet brigade. 
Duchovny offers that, to his way of thinking, 
the relationship between his rebel investiga- 
tor and those organizations is "legit." 

"The whole idea is believable. You have 
this one man against the assembled forces of 
the FBI and CIA. But, in real life, there is 
not just one Fox Mulder out there: there are 
a lot of groups of people who believe in 
many different things. And they're all 
fighting for the right to get their story told. 
That's what history is about. Whoever gets 
to tell the story, continues the history. 

"And that's pretty much the idea we're 
trying to get across with the series. Who is 
going to get to tell the story of all these 
strange happenings? The one man against 
the world is only a dramatic conceit, but the 
idea behind it is very real.'' 

Another element of the "very real" nature 
of The X-Files has been the non-roman- 
tic/non-sexual relationship between Mulder 
and Scully. Duchovny sees that as a definite 
plus. 

"And I would hope that it remains where 
it is," he emphasizes. "Having a friendship 
and a professional working relationship with 
a woman is much more interesting, and I'm 
sure Gillian [Anderson] would tell you the 
same thing. It's very easy to just jump into 
bed. That doesn't take much imagination." 

Although he claims "there's no sense of 
dread in filming these things," Duchovny 
can appreciate the suspense that finally 
emerges from the work. What he hopes the 
audience appreciates is that a great deal of 




One episode that helped strengthen Mulder's relationship with Dana Scully (Gillian 
Anderson) stuck them in an elevator, besieged by a liostile computer. 



48 



STARLOG/Mav 1994 




"I believe in powers greater than the physical," he says. "I 
don't believe in UFOs or beast women from New Jersey." 



"It can get cold and lonely in Vancouver," warns Duchovny. 
"We end up in too many dark woods in the middle of the night." 



hard work goes into making the fantastic un- 
reality of The X-Files seem like the real 
thing. 

"It can get cold and lonely in Vancou- 
ver." says Duchovny, who recommends the 
episodes "The Squeeze," "Fallen Angel" and 
"Ice" for anybody trying to play catchup on 
the rerun circuit. "We end up in a lot of mo- 
tels and too many dark woods and it always 
seems to be in the middle of the night. About 
half of the episodes have required us to react 
to things that are added in post-production. 
And then there's the fact that my character 
always gets caught by the bad guys and 
beaten up. Mulder never gets away with 
anything. I would like him to get away with 
something, just once, so I could avoid some 
bruises. 

"Working with Gillian under these cir- 
cumstances tends to make the working rela- 
tionship more like a marriage," he continues. 
"We have our good days and our bad days 
and we just have to work through it." 

Duchovny's memories of his previous 
quirky credit, as the transvestite detective in 
David Lynch's cult TV series Twin Peaks, 
are equally spotty. He gives the working re- 
lationship with Kyle MacLachlan good 
marks and, tongue-in-cheek, says there was 
"nothing special about the part." 

"I remember showing up on the set and 
thinking, 'Well, here I am wearing a dress 
and pantyhose" and wondering. 'Is this the 
beginning and end of my career?' That was 
a pretty scary experience, but I guess, in a 
way. it prepared me for this show." 

The memories are also fleeting of his 
work in Kalifornia. the film about a couple 



(Duchovny and Next Generation's Michelle 
Forbes) doing a book on serial killers, un- 
aware the duo they're traveling with (Brad 
Pitt, Juliette Lewis) are a murderer and his 
girl friend. "It was a tough, physical shoot 
and we were moving around on the road a 
lot. Working with Michelle was a good ex- 
perience. Everybody became real close. 
Working on that film was like a real family 
thine and I think it showed in the film." 



"You'll learn about my 

character. Just watch 

the show." 

Possible Conspiracies 

Ducho\ny. born in New York, went to 
Princeton University and earned a graduate 
degree in English Literature at Yale Univer- 
sity in preparation for a career in teaching. 
While at Yale, he dabbled in acting and ap- 
peared in a number of off-Broadway plays. 
Duchovny's hobby turned serious and, in 
1987. while at the doctoral studies level at 
Yale, he quit school to pursue acting full 
time. 

His film credits include roles in Chaplin, 
Beethoven. Don't Tell Mom the Babysitter's 
Dead and Showtime's Red Shoe Diaries. 

But it is in his role as "Spooky" Mulder, 
the tracker of the paranormal, that Duchovny 
concedes he has found a character very 



much in sync with himself. 

"In terms of specific beliefs, Mulder and 
I are different cats," he explains. "But I do 
have some personal beliefs that I think can 
be easily substituted. I'm someone who be- 
lieves in powers that are greater than the 
physical, but I don't necessarily give them 
form. I don't believe in UFOs or beast 
women from New Jersey. When you start 
saying what you do believe in, it gets diffi- 
cult. I believe in the abstract in the sense that 
all of these things could happen. But I do not 
believe that they have." 

The actor says that fan mail has taken on 
a tone that's consistent with his character. "I 
get the usual fan mail stuff about people lik- 
ing the show, but much of it has been very 
specific. They want to educate me. They 
want to send me the literature. They've sent 
me these long, detailed letters that have let 
me know what I need to know to play the 
part. It's fascinating." 

And the reality of the letters seems to 
mirror Duchovny's attitude toward The X- 
Files. "I don't see this as science fiction at 
all. I see it as a mingling of fact and fiction. 
When it's good, you can't tell the difference 
between what's real and what's not. And I'm 
sure that for many people watching this 
show, we keep them guessing." 

But will a second season continue to do 
so? "'I don't know where a second season 
will go," concludes David Duchovny. "I'm 
not sure anybody knows at this point. The 
possibilities for this show are limitless; as 
limhless as the writers" imaginations. I guess 
we'll just have to see how hmitless that ul- 
timately is." iff 



STARLOG/Mflv 1994 



49 




Crossing time and space were child's play 
for Anneke Wills, as Polly the Doctor's 
companion on Doctor Who. 

When the Doctor traveled 
throughout time and space, he 
always had company. One com- 
panion, a secretary known as Polly, jaunted 
across the universe alongside a sailor. Ben 
Jackson, a Scots Highlander known as Jamie 
McCrimmon and not one. but two different 
Doctors. 

With her surroundings (a small island off 
Canada's west coast) now much more terres- 
trial than they were in the 1960s, Anneke 
Wills, who played Polly for nine adventures 
with Doctor Who, remembers the series with 
great affection. 

Bom of Dutch-English parentage. Wills 
began thinking about an acting career at age 
six. "I actually got the idea from my mother, 
who was an unfulfilled actress," recalls 
Wills. "As soon as her little daughter was 
born, she began saying, 'You will be an 
actress.' If left to my own devices, I 
probably would have become a painter. 
Painting has always been a passion of mine. 
All the time I was at acting school, and even 
after, most of my friends were painters. I 
really didn't hang out with the actors." 

Wills' first professional job was with a 
group of other child actors in Child's Play, a 
movie chronicling the true story of several 
kids, who figured out how to make a 
working atom bomb. "I had very little acting 
experience when I went up for an audition 
with all the other children." Wills says. "I 
didn't even have an audition piece. The only 
thing I could recite was the Queen's 
coronation speech, which we all had to learn 
in school. So, I did the speech, but in the 
Queen's voice, and I got the part." 

At 12, Wills earned a scholarship to the 
Arts Educational School, which she attended 
for four years. She trained for a time at the 
Royal Academy of Dramatic Arts (RADA). 
In those early years, she worked on many 
British TV series and productions such as 
The Railway Children, The Strange World of 
Gurney Slade (with Anthony Newley), The 

STEVEN ERAMO is a Massachusetts-based 
freelancer. He profiled Jackie Lane in 
STARLOG#198. 



AS Polly, Anneke Wills 
teamed with two 
Doctors for action 
in time & space. 

By STEVEN ERAMO 



Wl- 

COMPAr 



Prince and the Pauper, The Primitive, 
Toddler on the Run. Armchair Theatre and 
The Avengers. 

She has trouble choosing the most 
challenging role from among those diverse 
characters. "They were all difficult, really, 
but one that does come to mind was when I 
was asked to play an absolute, outrageous 
bitch. Some part of me wanted to let go and 
play the role, but I was young and didn't 
want people to see me being so horrible. The 
director knew I could do the job, but. for 
some reason, I just couldn't bring myself to 
do it. After working one day, he said he 
would come to pick me up and drive me to 
the studio the next day. Naturally, I was 
nervous because I knew he was angry, but 
there was no way I could refuse his offer of 
a ride. 

"The next day he came to collect me, and 
we drove away. It was about an hour's drive 
to the studio, during which time he destroyed 
me. He said things like. 'You've been very 
lucky to get away with things because of 




Now a veteran of both the stage and the 
screen as actor anrf director, Wills has no 
regrets about a life in the limelight. 



your personality" and 'As far as acting, you 
have absolutely no idea of it at all.' etc. By 
the time I got to the studio at Wembley, I got 
out of that car and was about two inches 
high. I walked into the makeup room and sat 
there sobbing away. The makeup woman 
was completely supportive; she was out- 
raged at the director for being so mean. 

"Later that morning, when I got down to 
the set and started working. I found myself 
getting boiling mad if there was an interrup- 
tion. I would be very short with the director 
when he came around to give me direction. 
Needless to say. when it came time for me to 
play the part that day. I played her. She. the 
bitch, was me. By setting up that situation in 
the car. he had got me into a [state of mind] 
where I was able to play the character. When 
we finally finished for the day, we all 
gathered in the bar for a drink. The director 
came up to me and said, 'Darling, you were 
wonderful,' but I couldn't forgive him." 

Real Acting 

Besides her training at school and on the 
job. Wills also learned a great deal from her 
then-husband, British actor Michael Gough 
(probably best known for playing Alfred in 
the Batman films). "He's a very good actor. 
In the 19 years I lived with him, I learned 
that everything — from how a person would 
sit to how they would drink their coffee — 
played an important part in the formation of 
your character. So. I drank coffee with Van 
Gogh, Doctor Livingstone and various 
politicians." 

As for Doctor Who, Wills joined the se- 
ries when Jackie Lane, who was playing the 
Doctor's companion Dodo Chaplet, decided 
to leave. Wills and fellow actor Michael 
Craze made their first appearance alongside 
William Hartnell's Doctor in the 1966 ad- 
venture "The War Machines." Finding him- 
self in present-day London, the Doctor faces 
a super-intelligent computer named 
WOTAN, which has taken over the city's 
new Post Office Tower. As secretary to Pro- 
fessor Brett, creator of the power-mad com- 
puter, Polly gets involved with the Time 
Lord. Polly ends up traveling with the Doc- 



50 



STARLOG/Ma>' 1994 




tor when she and Ben (Craze) enter the 
TARDIS to return their key to the police 
box. "I was thrilled to get the part on Doctor 
Who.'' says Wills. "I was already a fan be- 
fore I ever began working on the series." 

When Polly was introduced. London was 
experiencing the phenomenon known as the 
Swinging '60s. The Beatles. Camaby Street 
and mini-skirts were all the fashion. Televi- 
sion was playing host to emerging dominant 
female characters, such as Honor Black- 
man's leather-clad heroine Cathy Gale in 
The Avengers. Approaching her role in Doc- 
tor Who, Wills decided to make Polly a real 
person, someone viewers could identify 
with. "I was one of those actresses that, if I 
was playing a character getting out of bed. 
I would look like you look when you get out 
of bed. You don't come popping out of bed 
all made up — that's not realism. 

"You really didn't have time to think 
about your character [on Doctor Who], be- 
cause time was so precious. One would read 
the script and start rehearsing on Monday. 
By Friday, we would have finished rehears- 
ing all the technical stuff, and we would film 
the episode. It was all very tricky, and lots of 
hard work." 

Wills had only worked on three episodes 
of Doctor Who when Hartnell left the show. 
It was a very precarious time in the pro- 
gram's history. The production team had 
recast the Doctor, but audience reaction was 
in question. "Doctor Who had been going on 
for some time, and was very well-estab- 
lished when William Hartnell decided to 
leave and turn it over to Patrick Troughton. 
There was quite a furor over whether or not 
the public would accept the change, or think 
it was completely outrageous. Of course, ev- 
eryone adored and accepted Pat Troughton 
immediately — he brought a whole new 
breath of life into the series. If I remember 
correctly, our budgets went up around this 
time as well, allowing us to go on location 
around the country and break new ground on 
the series. 

"I think the chemistry between Pat 
Troughton, Frazer Hines, Michael Craze and 
I worked; the four of us were great friends 



After leaving Doctor Who, Wills decided "that It was time to turn Inwards, and 
concentrate on things that were Important to me." 



and had tremendous fun. This showed on 
camera; we had an energy between us and 
we enjoyed each other very much. 

"Pat Troughton was a complete and total 
joy. He was very passionate about Doctor 
Who. and was completely involved in it." 

The show assumed a more light-hearted 
tone when Troughton took over as the Doc- 
tor. His whimsical, slightly mischievous ap- 
proach to the character was very much in 
contrast to Hartnell's more serious and 
somewhat stem interpretation. "Bill Hartnell 
was very difficult to work with at first," re- 
calls Wills. "We got more comfortable with 
him, though, after a while. 

"I remember Bill was very possessive 
about his studio chair. We all used to have 
the chairs with our names on the back that 
we sat in off-camera. So, I would write on 
the back of mine, 'Anneke Wills, Michael 
Craze and whoever else wants to sit in it,' " 
laughs Wills. "And I think I remember 
putting something like, 'but not Bill because 
he has his own.' I was trying to point out to 
him how serious he was about his chair. 

"Another time we were in the pub across 
from the TV studios where we recorded 
Doctor Who. It was a freezing cold night, 
and we were all inside having a drink. Bill's 
chauffeur was waiting for him in his car. 
outside in the freezing cold. We said to Bill 
that he wasn't being fair, and he should have 
him come inside for a drink. Bill said. 
"Certainly not, he's my chauffeur.' So, we 
began kidding with Bill, and told him not to 
take any notice if we invited his chauffeur 
inside and gave him a pint." 



A year after joining the program. Wills 
decided it was time to leave Doctor Who. 
The production team was very eager for 
Wills and Craze to continue, but both were 
afraid of being typecast and opted to exit. 
Their characters parted company with the 
Doctor after a particularly perilous en- 
counter with an alien race known as the 
Chameleons, in the 1967 adventure "The 
Faceless Ones." Although it's over 25 years 
since she appeared in the program, people 
still remember Wills for Who. "When I go 
back to England, it simply amazes me be- 
cause people do still remember, which is 
very nice. It's also very flattering to think I 
haven't changed too much since working on 
Doctor Who." 

Real Life 

It was almost a full year before Wills was 
back in front of the camera, co-starring in 
The Strange Report (an ATV crime drama 
aired in the U.S. in 1971). This 16-part 
series starred Anthony Quayle as ex-police 
criminologist Adam Strange, who in- 
vestigates cases that Scotland Yard couldn't 
solve. Wills played Strange's next-door 
neighbor, Evelyn McLean, who often got in- 
volved in his sleuthing. "That was extremely 
hard work, and I was completely burnt out 
by the end. My day began at 4 a.m., where I 
would be on the road driving to Pinewood 
Studios. It was the dead of winter and the 
roads were a bit icy, so it was frightening. I 
would work all day at the studio, get home, 
have dinner with the family, learn the lines 
(continued on page 67) 



STARLOG/May 1994 



51 



RoboCop finds the future of law enforcement on location in Canada. 



While Richard Eden waits, his 
RoboCop costume shrouded in an 
enormous hooded robe, two 
crewmen with flamethrowers melt snow 
from the edge of a concrete wharf to match 
yesterday's shooting. The camera is covered 
to protect it from the driving snow, while 
nearby, in the icy water of the harbor, 
cabin cruiser is maneuvered into 
position. Two other crewmen, 
waiting for the shot, engage in a 
cat-and-mouse snowball fight. 
But despite the worst of 
Toronto's Canadian winter, 
shooting on RoboCop: The 
Series goes ahead. The S5 mil- 
lion, two-hour pilot. RoboCop: 
The Future of Law Enforcement, 
written by the first RoboCop's 
Michael Miner and Ed Neumeier 

By PETER BLOCH-HANSEN 



and directed by Paul {The Next Generation) 
Lynch. The syndicated series launched in 
March, with 22 episodes to follow, produced 
by Canada's Skyvision Entertainment. 

Seated across the conference table in his 
warm Toronto office, soft-voiced executive 
producer Stephen (MacGyver) Downing 
admits with a laugh 
that Toronto's 
winter actually 
fits the series' 
mood. "The 
near-future 
genre." he 
explains, "is 
always dark 
by neces- 
sity, because 
it's always 
an extrapola- 
tion of the 
worst of 
today. 




Today people are talking about organ trans- 
plants. Who gets in line? How do you get to 
the head of the line? Who pays? Who can't 
have one? People are anxious about many 
things; what's going to happen to our 
children, our educational and medical system 
and so on. That anxiety translates into 
interest in subject matter. We take a subject 
and tell a story. 

"Then if you satirize it a little, through 
broad characterization and outrageously 
funny situations, you're dealing with a very 
serious subject in an entertaining way. 

"Take the issue of welfare," Downing 
continues. "RoboCop's wife and son are on 
welfare because they've lost the police 
pension. RoboCop remembers that he used to 
be around to help and we tell a story with 
that. In our series' world, welfare has been 
privatized. A reality exists today where 
welfare is a cyclic thing. Generation after 
generation remains on welfare because if you 
work, you lose your welfare, but you can't 
make enough to live. Either you become a 
cheat or you don't work and stay on welfare. 
We extrapolate this condition to the future 
and satirize it. so we see people making 
profits from it. 

"If we tell a story about something that 

we're anxious about in society, it can 

satisfy people's curiosity. It can leave 

people with something to discuss. It 

might even empower them to think 

about it in a new way. or even to do 

something about it." 

RoboShows 

Retained from the films is the 

sprinkling of tongue-in-cheek TV news 

and advertising segments throughout 

the narrative. "We have an animation 

element in all our shows." Downing 

discloses, "involving a character 

named 'Commander Cash.' He has a 

sidekick called "Major Market.' He's 

a kind of superhero circus barker 

who speaks for OCP: 'Pollution is 

Good! It employs people!' Silly 

stuff like that. Nelvana [the 

company behind the animated 

Cadillacs & Dinosaurs] is doing 

the animation for us. In the episode 

'RoboCop Meets Commander 

Cash.' we deal with cartoon law. 

The superhero always wins; 

justice always prevails; the bad 

guys always lose. You meld that 

with the darkness of Dante and 

you have an interesting mix. 

"We're not aoina to a lot of 



trouble, just like the movies didn't, to make 
sure we have futuristic cars and so on. We're 
just not that far in the future. We're not really 
about portraying a technologically advanced 
future. We can't afford to do it and it's not 
the look we want for this show." 

According to Downing. RohoCop enjoys 
a "very healthy" budget. The Next Gener- 
ation spends about SI. 5 million per episode. 
"I'm sure that our opticals budget is not 
nearly as hefty as theirs. They have five 
times the sets, but they almost never leave 
them. [Next Generation executive producer] 
Rick Berman told me that they've left the 
Paramount lot maybe twice in five years. We 
leave our lot four out of every eight days. 
They do a lot of big talk scenes, three or four 
pages, where for us. a page-and-a-half scene 
between two characters is pretty long. We do 
a lot of big stunts. We're out and about town 
on the streets." The series does, however, use 
nine large, detailed standing sets, complete 
with a vvall of video monitors and permanent 
blue screen facility and three others 
redressed from week to week. Additionally, 
temporary sets are constructed as needed. 

"1 was attracted to the show." Downing 
says, "because of the basic concept, the cy- 
borg, man and machine and the humanity 
inherent in it. Robo is a man trapped inside a 
machine. He feels and remembers his 
humanity but can't always express it. so he 
feels a lot of pain. We all deal with pain. I 
guess his pain is a little more intense, but it's 
very ennobling. For example, we have his 
wife, widowed, left with a child. If Murphy 
tells his wife who he is. can you imagine the 
pain she would suffer? How could her life go 
on? Could she date again, marry, bring 
another man home to her son as his new fa- 




Continuity— the bane of every filmmaker, even on RoboCop. In order to match previ- 
ous footage, these crew members must melt the ice from this snowy location. 



ther? If she knew, she wouldn't do any of 
those things. Alex Murphy knows that. For 
him it would probably be a great relief to be 
able to tell them, but he chooses not to. He 
chooses to swallow the pain for the benefit of 
someone else. That makes him a true hero. 
All he does is give. He's incorruptible, 
because he can't benefit from material 




Even a RoboCop can't walk the beat alone. Sergeant Stan Parks (Blu Mankuma) and 
Detective Lisa Madigan (Yvette NIpar) watch his back. 



things. RoboCop represents hope through 
humanity because he is unselfish. If we were 
all more that way. there would be a great deal 
of hope for us. As we develop stories and put 
RoboCop in different situations, we'll get 
new glimpses [of his character] and leam 
more about him." 

Besides RoboCop. the series boasts seven 
other regular characters. "In the pilot," 
Downing reveals, "we introduce Diana, 
played by Andrea [E.N.G.] Roth. The story 
has a kind of mad scientist who's trying to 
meld a human brain with a computer to run 
all of Delta City's public utilities. He 
snatches a secretary. Diana Powers, and gets 
her brain. But they also get her ethical and 
moral system. She rescues RoboCop, and he 
saves her from a computer virus sent to de- 
stroy her independence of action. They're 
kind of soul mates, except that she doesn't 
suffer pain. She enjoys being able to run an 
entire city. When the OCP Chairman [David 
Gardner] gets out of hand, she shows up to 
dust him down. 

"We have Charlie Lippincott [Ed Fahely], 
the techie who looks after RoboCop, and 
Sarah Campbell, who plays Gadget, the 
eight-year-old orphan adopted in the pilot by 
Sergeant Stan Parks, played by Blu 
Mankuma. Sergeant Parks runs the Metro 
South police station. Sergeant is the highest 
rank in the Detroit police force. Everything 
above that is OCP executives, which is why 
in our stories we get so many ridiculous 
orders coming down. It's quite fun to satirize 
what bureaucracies do and the way they 
think." 

PETER BLOCH-HANSEN, STARLOG's 
Canadian Correspondent, profiled Richard 
Eden in issue #20! . 



STARLOG/Mav 1994 



53 




"The near-future genre is always oark by necessity,' says executive producer 
Stephen Downing. "It's an extrapolation of the worst of today." 



Murphy's wife, Nancy, is played by Jen- 
nifer Griffin; their son Jimmy by Peter 
Costigan. Richard Eden's RoboCop is part- 
nered with Yvette Nipar, portraying Detec- 
tive Lisa Madigan. The series also features. 
in a recurring role. James Kidnie as "Pud- 
face" Morgan, bent on avenging his disfig- 
urement by toxic waste in the first movie. 

RoboAction 

Downing 's RoboCop is much less violent 
than the movies' action. "It's easy to have a 
shoot-out and blow everybody away." says 
the producer. "I would like to define another 
kind of hero. You have to think a little bit to 
accomplish things in another way. Take for 
instance in the first movie, that situation 
where the guy had the Mayor hostage. 
RoboCop could have just walked in and 
blown him away, but it was more enter- 
taining to have him use his thermographic 
vision to locate the guy. reach through the 
wall and grab him. 

"Robo's right leg still has the gun in it, 
which now has a capability that I invented 
for all our police guns, called 'tagging.' 
You push a button and a little window- 
changes from 'lethal,' or 'ammo' to 
'tag.' It fires a little identification 
tag encoded with the time and 
the officer's name. Officers 
have a wrist band that 
registers when they 
get close to a tag. 
So we don't kill 
a fleeing sus- 
pect; we tag 
him for later 
arrest. We've 
invented a left leg 
that delivers different 
devices too. called 
S.C.A.D.s [Suspect 
Containment Alternative 



Devices] such as a huge balloon that inflates 
and traps people against the walls of a room 
or the inside of a boat, and a bolo gun to wrap 
around a guy's legs and drop him. In our 
two-hour pilot, RoboCop cuts a chandelier 
out of the ceiling with his gun and drops it on 
a guy. Another time he targets the leg of a big 
chest and it falls on a guy and traps him 
inside. That's fun. and these people are not 
killed. 

"Also, using Robovision. we demonstrate 
the thinking process a law-enforcement offi- 
cer must go through. RoboCop has an esca- 
lating use-of-force criteria list that comes up. 
The first step is a verbal command to get 
willing compliance. Then, there is a pain 



compliance — grabbing an arm and 
squeezing. Then there are control holds 
for disabling; then more serious control 
holds, then deadly force. We'll see 
RoboCop using that scale. I'm not 
saying he'll never blow some guy away, 
but when that happens, it will be for a 
really, really good reason. 

"We try to discipline ourselves about 
the character's restrictions and avoid 
expanding his powers too much, but 
RoboCop has the skill to calculate 
deflection angles and bounce a bullet off 
several objects, hit a gas tank and blow a 
little fire on a bad guy's butt. He doesn't 
kill him." Downing notes. "Using other 
ways than direct lethal violence for 
solving problems is healthy, provides a 
good role model and is very 
entertaining. I like to think that an entire 
family can feel more comfortable 
watching RoboCop" 

This non-violent approach has many 
ramifications. ''You can do much more 
spectacular stunts when people are 
getting killed," explains stunt coor- 
dinator Marco (CUjflianger) Bianco. 
"We had some big explosions in the pilot, but 
our stunts tend to be more a comedy and gag 
type requiring more creativity. You don't 
want to do this week what you did last week 
in a similar situation. We do some bigger 
stunts too. We did a stunt where we had to 
get a speeding car to spin around and stop 
right at the edge of a dock, and one the other 
day. up in a generating station, where I come 
at Robo with a chain and he throws me over 
the edge. A chain gets hooked around my 
foot, Robo steps on it and stops me from 
hitting the ground. We've got one coming up 
where a big wrecking ball crashes through a 
wall. Robo hangs onto it. gets pulled out and 
dropped way down onto some bricks." 



"The suit is its own little world 
"The actor can't get into or 
out of a car, scratch or 
do much of anything." 



notes Miles I 



line producer. 




Many of the series" technical difficulties 
are created by the RoboCop suit. Producer 
Miles {F)-iday the 13th: The Series) Dale, the 
man responsible for day-to-day production, 
provides some details. ""The suit is its own 
little world. Though it looks effortless, the 
actor can't get into or out of a car. scratch, 
can't do much. It's a real challenge for the 
actor, not only in the sense of movement, but 
orientation, peripheral vision and so on. 

"Camera angles are very important. For 
example, from, behind, RoboCop looks 
deadly, with the legs flopping. Low angles, 
three-quarter angles look great on him. Full 
on is not as good. Richard Eden is about six 
feet tall in the suit, so the extras we cast have 
to be shorter than that. It looks dumb if 
RoboCop is shorter than the people around 
him." Dale continues. "We have a ramp he 
walks on to make him seem bigger. 

"Sometimes we're able to shoot from the 
waist up, so he can have his legs free to do 
more things. We're learning tricks to make it 
easier. There's an immense learning curve on 
this show, working with the gadgets, the 
camera angles and so on. The suit makes a 
clackety-clackety-clack noise, not at all the 
beautiful whirring motor sounds you expect, 
so any "walk and talk' we do with the suh we 
have to loop. When directors come in to do a 
show, it's almost like we have to take a 
couple of days and say. 'This is how we do 
it.' By the end of this season, we'll probably 
be reallv sood at it. 



"Unfortunately, this show cannot be shot 
in seven days. We have to work with the 
scripts to make them practical to shoot. We 
take out ridiculous stuff, but we're trying to 
protect the scripts because it's so tough to 
build an audience in the first season. We did 
the pilot in 24 days of main unit and 12 of 
second unit. We've been shooting eight days 
on each episode, but we're going to seven 
days soon, with five of second unit, shooting 
not only action scenes and inserts but dia- 
logue scenes too. We might have a third unit 
to do inserts.'' 

Three heavily insured, fiberglass suits are 
used. "The suits."" Dale says, "were 
manufactured for the second picture, fitted 
for Robert Burke in the third, then refitted for 
Richard Eden. When we flew them up. we 
flew them in different planes. We got the 
suits and the spike arm. the machine gun arm 
which I don"t think weTl be using too often, 
the right leg and some other stuff. We 
redesigned all his other equipment, the OCP 
logo and the sets. We are probably going to 
do new suits some time this year specifically 
for Richard. We"re working on a new 
generation of suits. Our suits were made to 
stand up to close-ups on a 75-foot screen. 
What do we need for suits that will work on a 
20-inch screen?" 

RoboCop's oversized handguns are also 
the ones used in the films. "We got the guns, 
which was quite a deal because they're not 
allowed in Canada; you need an approval 



from the U.S. State Department every time 
one of those guns leaves the country," Dale 
notes. "The paperwork was immense. We 
didn't finally get the guns up here until after 
we were finished shooting the pilot in Octo- 
ber, so we had to make another one up. If 
you give RoboCop a little gun. it looks 
ridiculous. It's actually a 9mm gun but it 
looks like it should be a .45 caliber. The gun 
weighs probably five pounds, and with the 
suit arm weighing 10 pounds, it's so heavy 
that we've actually discussed getting a 
fishing rod thing to hold up Richard's arm 
during long takes." 

Roboways 

Bianco reveals another problem arising 
from the frequent need to create the effect of 
bullet hits on RoboCop: "There's a special 
air gun loaded with round gelcaps. We fire 
them at Ken Quinn, the stunt double in the 
Robosuit and they ignite with a big spark 
when they hit. The problem is the gelcaps 
don't fly very straight, even from 10 or 15 
feet away. Ken is always getting hit by these 
things in unprotected places, under the arm, 
between the cracks in the suit and in the 
face. They had to make some specially 
(continued on page 67) 



"RoboCop chooses to swallow his pain for the benefit of others," Downing states 
"That makes him a true hero." 




ST.ARLOG/Mflv 1994 




COURTSHIP 




"Pay attention to the 

sounds of words," 

advises Star Wars 

scribe Dave Wolverton. 

"It'll add a great deal of 

power to your writing." 



By KEN RAND 



w 




hen Dave Wolverton was 19, he 
saw the first Star Wars movie 37 
times in three months. He bought 
a lightsaber and eveiy action figure. 

"I would have died if I had thought that I 
would grow up some day and write a Star 
Wars novel myself," he says. "I couldn't 
quite imagine that happening." 

Realizing his dream, Bantam will release 
Wolverton's The Courtship of Princess Leia 
this month. 

While a student at Brigham Young Uni- 
versity in Provo, Utah, Wolverton, now 
37, won many contests with his literary 
fiction. Then, he read J.R.R. Tolkien, "I 



wanted to read more books like his," he 
explains. "I couldn't find them, so I decided 
I wanted to be a fantasy writer." 

He wanted to attend a class taught at 
BYU by Orson Scott Card, but Card left be- 
fore Wolverton arrived in 1981. His interest 
held, and in 1986. Wolverton won the grand 
prize in the Writers of the Future contest. 
His career was launched. 

"The element of fun" drew Wolverton to 
the genre. "I like the idea of taking a kooky- 
sounding idea and trv'ing to create a story out 
of it that's going to be involving and 
emotionally moving," he says. "It's a much 
greater challenge than writing literary 
fiction.'' 

SF is more than just one genre. "For 
some people," he notes, "it's the bug movies 
of the 1950s. For others, it's something like 
the social SF of Ursula K. Le Guin. Science 
fiction appeals to people partly because 
there's so much that you can do with it. You 
can write adventure, straight SF, social sci- 
ence fiction — there are lots of appeals. One 
appeal. 1 think, is that it's one of the few lit- 
eratures that can talk about morality. You 
have to deal with the question of power and 
what we are going to do with all of these 
new-fangled toys once we get them. How 
are they going to affect humanity? 

'•It's also a sur\'ival literature. We have to 
contend with the future. Science fiction 
allows us to do that while it's still sort of 
safe. We can look down the road and say, 
'Well, maybe we shouldn't develop 
nanotechnology that much." We can look at 
all the dangers and start seeing what we need 
to do to shape the future." 

Hero of the Rebellion 

The influences on Wolverton are many 
and diverse. In addition to Card and Tolkien, 
he lists Robert Heinlein, Gene Wolfe, Philip 
K. Dick and Theodore Sturgeon. "I look at 
authors," he says, "and I find things to like 
about most of them. Everyone does some- 
thing well. I think Orson Scott Card is one of 
the best storytellers alive today, inside or 
outside the SF and fantasy field. I like Lu- 
cius Shepard just for his luscious style." 

Star Wars, of course, influenced 
Wolverton. "I remember a little spot where 
you have Luke Skywalker on Tatooine and 
you see the double suns rising with this ma- 
jestic music in the background. I don't think 
I've ever seen a science-fiction movie before 
that had a moment where it just said, 'Here's 
something that's beautiful.' It had a sense of 
humor, romance, adventure. It had some- 
thing for everyone." 

And for "Wolverton. in August 1991. Star 
Wars offered a major career boost. 

He had enjoyed a successful first novel. 
On My Way to Paradise, from Bantam, was 
first runner-up for the Philip K. Dick Award 
a few months earlier. Serpent's Catch, also 



m 



in the newest "Star Wars" saga, Dave 

wolverton plays matchmaker between heroic 

rogue & rebel princess. 



Photo: Courtesy Dave Wolverton 



from Bantam, was just out. 

His editor at the time, Betsy Mitchell, 
wondered about his writing a Star Wars 
novel. "At first I wasn't sure," he recalls. "I 
had heard horror stories from people who 
worked in other shared worlds." 

Also, he was working as a technical 
writer for a software company "and I was in 
the middle of a huge project — killer hours. 
They asked if I was interested in doing this. 
At that time, I was interested in sleeping." 

But he said yes. "Things started looking 
pretty ugly after everybody discovered that 
we were having a recession," he says, "and 
for a new author, that's a tough position. But 
much of it had to do with the fact that after 
all these years. I finally got to do a Star 
Wars novel. I got to come back to something 
I loved to see what I could do with it." 

In addition to his Bantam editor, his out- 
line — and later the manuscript — had to be 
approved by LucasArts Licensing and by 
George Lucas himself. Despite this rigorous 
multi-stage approval process, Wolverton 
found LucasArts easy to deal with. "I was 
pleasantly surprised," he remembers. "You 
have to work together through the process. 
When you're dealing with something that'll 
be read by a couple million people, it's nice 
that you do go through that process." 

Wolverton noticed that no author had yet 
dealt with the marriage of Han Solo and 
Princess Leia. "Wow, it can't be that easy," 
he raves. "So, I wanted to do it. I was a little 
bit concerned with some things that I pro- 
posed, but George Lucas read it and said, 
'This looks like a great story. Let's do it.' " 

Here's the chronology: Kathy Tyers' The 
Truce at Bakitra immediately follows Return 
of the Jedi. The Courtship of Princess Leia 
follows Tyers by nine months to a year, the 
Timothy Zahn trilogy comes five years later, 
then Kevin J. Anderson's books (STARLOG 
#199) follow that. 

Tutor of the Force 

Besides the logistical problems of work- 
ing in a shared world (which includes not 
only the movies and the novels, but Dark 
Horse Comics and West End Games), 
Wolverton had to contend with the problem 
of readers already knowing how his book 
ends. Zahn has revealed that Han and Leia 
get married and have twins. There is. in fact, 
a third child. Given this, how does an author 
keep a reader's interest? 

"Sometimes the sense of anticipation 
comes not by not knowing what's going to 
happen," Wolverton notes, "but by seeing 
how it happens." 

"One of the things I tried to instill in this 
book was the sense of humor that was in the 
movies and that 'grand epic' feeling. I went 
with the idea that I was going to make the 
courtship fun, give Leia the most incredible 
hunk of a man that she can possibly want, all 
the power and wealth that she could ever 
need, and then see how Han Solo stacks up 
against that." 

In the first year after the Emperor's death 
(and The Truce at Bakura). Han is busy 
putting out little fires around the galaxy 
while Leia is trying to fight off all the war- 




For Wolverton, the topic of Han Solo and Princess Leia's marriage was too good 
to ignore. 



lords trying to take over. "She goes to 
what's called the Hapes System," Wolverton 
explains, "and speaks to this woman called 
the Queen Mother Ta'Chume, who is the 
matriarch over 65 hi-tech planets that have 
never belonged to the Republic. 

"This woman doesn't seem to be inter- 
ested in joining the Republic right now, but 
a few weeks later, she sends her son and 
says, 'OK, if you marry my son, you'll be 
the new Queen Mother.' And the kicker is — 
the son is handsome, charming, intelligent, 
something of a rogue. He has seen Leia from 
afar and falls in love." 

Han is jealous, but what can he do? 

"He wins a planet in a card game," 
Wolverton reveals, "and he kidnaps Leia and 
he takes her to this planet." 

That's quite a book. "No," Wolverton 
says with a smile, "that's just the first two or 
three chapters — the set-up. The fun starts 
once they get on the planet." 

In addition to a rousing yarn. Wolverton 
brings to the Star Wars saga a part of him- 



self, a new look at spirituality, a new "take" 
on the Force. "I have Luke getting more in- 
volved in the Force," he says, "and talking 
with animals, communing with nature in a 
way that we haven't quite seen in the 
movies. Actually, it's hinted at in places and 
you just never notice it. Luke walks up to an 
animal and touches it and the animal calms 
down, that sort of thing. It was just a logical 
extension." 

Courtship is Wolverton's fourth book. 
(Path of the Hero, a sequel to Serpent' s 
Catch, also from Bantam, was his third.) Tlie 
Golden Queen, from Tor, will be out in 
June, to be followed by two sequels. Tor has 
also bought two books called The One Time 
Warrior. He has a story in Kevin Anderson's 
forthcoming Tales From the Star Wars 
Cantina collection about an Ithorian — the 
"hammerheads.'' which inspired Lucasfilm 
to ask him to do a children's picture book. 

KEN RAND is a writer based in Utah. This 
is his first article for STARLOG. 



STARLOG/Maj 1994 



57 




In Courtship of Princess Leia, her worshipfulness is tempted by 
an arranged marriage tinat could unite the Republic. 



To Leia's rescue comes her jealous knight in tarnished armor- 
Han Solo— who steals back the princess' heart, literally. 



Such a workload requires discipline, 
something Wolverton has had since his boy- 
hood in the little town of Monroe, Oregon. 
His parents owned a meat company and a 
grocery store. He started working at age 
eight selling produce, raising pigs and cattle, 
selling worms for fishermen and cleaning 
bams. He started cutting meat at age 12 and 
was a journeyman meat cutter by 16. "'You 
have deadlines with all those." 

And it has all paid off. 

"There was one point where I was writ- 
ing Courtship." he says, "and I was up at 
2:30 a.m. 1 was sitting there thinking I 
really ought to go to bed. But then I thought, 
no: 1 know too many people who would kill 
to be in my spot. So. if I have to get 
toothpicks to prop my eyes open. Fll do it. 

"You sit down and you mal<e your dead- 
lines, and you tell all of your friends in the 
world to get lost for a few weeks. And you 
try to ignore your whining children. That 
one's tough. But if you're a professional, 
that's what you do. one way or another." 

Writer Of the Jedi 

His advice to new writers: join a writing 
group, read and write a lot. Study poetry. 
"Poetry helps you learn to listen to 
rhythms." he says, "to pay attention to the 
sounds of words. It'll add a great deal of 
power to your writing." 

Learn how to tell a story, how to 
manufacture plot twists. "There are an 



awful lot of people who are good with 
poetry in the literary world, who just can't 
tell a story to save their lives," he admits. 
"And, there are many people in the genre 
world who are wonderful storytellers, but 
whose work is perhaps too weak, because 




Wolverton's fourth novel, Path of the 
Hero, was a well-received pit stop on his 
way to Star Wars fame. 



they haven't studied poetry well enough. We 
need to have a balance." 

Wolverton's ability to tell a gripping 
story himself is demonstrated in an incident 
that happened just before Christmas 1993. 
when a burglar broke in. 

"1 came home late," Wolverton recalls 
"at about 1-30 a m. I heard someone down- 
stairs and I thought it was one of the kids 
stirring around in their sleep. Then 1 thought. 
'Naw, it can't be," so I decided to go down 
to check. Just as I went down. I saw that the 
back door was open. Now, this door never 
opens by itself. That's when I realized 
someone had been in the house." 

But everyone was OK and the T'V and 
the stereo were still there, so Wolverton 
didn't report it. He forgot about it until two 
days later, when he went looking for the gal- 
ley proofs for Courtsliip. They were gone. 

■•They got the Star Wars manuscript." 
Wolverton "says. "The only thing I can think 
is that I caught them just as they had started 
to come in or something and they had prob- 
ably opened the manuscript. I've always 
thought that if a story is good enough, you 
should be able to pick it up and not be able 
to put it down again. And they just couldn't 
leave it, so they stole it." 

The same person tried to break in exactly 
a week later. "Maybe he was coming back to 
see if there was a sequel lying around." 
Dave Wolverton muses. 

Now that's a story. ■?>*? 



58 



STARLOG/May 1994 




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Once The Shadow, John Archer set off to 
explore another world: "Destination Moon." 

By TOM WEAVER 



With nearly 60 screen roles to his 
credit (in addition to a long list of 
TV parts), John Archer has played 
an assortment of characters in a wide range 
of genres. In horror and SF. however, the 
curly-haired six-footer generally portrayed 
the good-natured but no-nonsense leading 
man who goes toe-to-toe with the forces of 
the unknown, whether it be zombies and 
Bela Lugosi on Poverty Row or the 
mysteries of the unexplored universe in 
George Pal's movie milestone Destination 
Moon (1950). As radio's Lamont Cranston 
(better known as The SImdow), he knew 
precisely what evil lurked in the hearts of 



TOM WEAVER, veteran STARLOG corre- 
spondent, authored Creature from the 
Black Lagoon (Magiclmage. $19.95). He 
profiled Bob May in #201. 



The actor was born Ralph Bowman in 
Osceola. Nebraska (a suburb of Lincoln) on 
May 8, 1915. His family moved to 
California when he was five, and Bowman 
went to school at Hollywood High and USC. 
He first set his sights on a job behind the 
cameras, taking a course in cinematography 
at USC as a prelude to finding out just how 
hard it was to crack open those imposing 
studio gates, even in a low-paying entry- 
level position. "Times were tough then, and 
I couldn't get a job for 15 bucks a week in 
any area down there." Archer reminisces. 
"In fact. I had to leave USC in my junior 
year — I ran out of loot! I finally went to 
work for an aerial photographer in Los 
Angeles for 60 bucks a month — I worked in- 
an office, seeing clients and so forth. He 
went to New York and from there he sent 



me a wire, saying that some relatives of his 
from Texas were going to be in town: would 
I show them around and so forth. I did show 
them around Beverly Hills, and we stopped 
for lunch at a place at Wilshire and Fairfax. 
While we were dining, the hostess came 
over and said that there was a director in the 
room who wanted to ask me a few questions. 
His name was Ben Bard and he owned this 
little theater next door. He was having lunch 
with an actor, Jack Carson, and an agent. 
Frank Stemple. I made an appointment to see 
Bard the next day. 

"Bard said, 'You've got all the qualities, 
all the attributes to do some acting. Have 
you ever thought of it?' I told him. "No. I'm 
too self-conscious. I couldn't stand up next 
to my desk in school and read out of a 
book!' He said. ■Well, why don't you give it 
a shot?" and I said OK. and I did. In three 
months. I got my first job at Universal, and 
in six months. I started making a living at 
it!" Still using his real name. Bowman made 
his screen debut in Flaming Frontiers 
(1938). a Universal serial with Western star 
Johnny Mack Brown: "We shot an episode a 
day. practically!" Other movie roles fol- 
lowed (including the serial Dick Tracy 
Returns), as well as parts in stage produc- 
tions at the Ben Bard Playhouse, where 
Bowman worked alongside fellow newcom- 
ers Jack Carson. Alan Ladd. Turhan Bey and 
Byron Barr (a.k.a. Gig Young). 

Another early turning point for the young 
actor was competing in the unique talent 
quest program Jesse La sky' s Gateway to 
Hollywood, a CBS radio show whose 
contestants vied to win a nom de screen 
coupled with a contract with a studio. "John 
Archer" was the name for which Bowman 
and other aspirants from all over the U.S. 
(including Leave It to Beaver's Hugh 
Beaumont) competed for 13 weeks, with 
Bowman eventually winning the screen 
moniker as well as a contract with RKO. ("I 
went from being a Bowman to an Archer!" 
the actor quips.)^His first film with the new 
name was RKO's Career (1939). a low- 
budget small-town drama starring ."^nne 
Shirley. Archer and "Alice Eden" (formerly 
Rowena Cook), another Gateway to 
HoUxwood winner. Variety's Bam wrote of 
the contest winners. "In Archer, the Gateway 
to Hollywood has uncovered a lad with 
possibilities for development. He's a smooth 
looker, of clean-cut face and build, and with 
a bit of grooming has a chance to be heard 
from, with Miss Eden, it's another story." 

zombie Fighter 

Archer's "grooming" continued, not only 
at RKO but at Republic. Monogram and 
other small companies. With horror films 
back in vogue after a late 'SOs hiatus. 
Monogram producers Lindsley Parsons and 
Sam "Katzman concocted low-budget 
thrillers to capitalize on the new demand: 
Ar.cher worked opposite black comedian 
Mantan Moreland in Parsons' Kjng of the 
Zombies (1941) and with horror king Bela 
Lugosi in Katzman's Bowery at Midnight 
(1942). "I enjoyed Monogram," admits 
Archer. "They were fast B pictures, but the 



60 



STARLOG/May 1994 



people were all good. Working at 
Monogram, the techniques were the same 
[as at larger studios], except that they would 
just shoot a lot faster. They didn"t rehearse 
as much, and they would shoot the whole 
picture in a week. In a larger studio, it would 
take three or four weeks to do a B picture. 
For instance, if you were in a B picture, ac- 
tors didn't say, 'God damn it!' when they 
flubbed a line, they just kept going, and cre- 
ated their own scene! And the director 
would let "em go as long as they wanted! 
That was good experience for iis. too." 

King of the Zombies, a horror/comedy, 
was a mixed-up 67 minutes of low-cost fun, 
with heroes Archer and Dick Purcell 
encountering voodoo master Henry Victor 
on a mysterious jungle island near Cuba. 
Purcell is "zombified" early on. fifth-billed 
Archer handles most of the exposition, and 
Moreland. playing Archer's valet, shares his 
funniest .scenes with Victor's band of zom- 
bies (typical dialogue: "If it was in me. I 
sure would be pale now!"). Besides doing 
his schtick in the movie. Moreland also 
carried on and kidded between takes, and 
found a willing audience in Archer. "I liked 
having Mantan Moreland to work with — he 
was a funny guy who just cracked me up. In 
fact, I thought he would be a wonderful guy 
for Jack Carson to have as a sidekick on his 
radio show, like [Jack] Benny had 
Rochester. We kicked that around for a 
while. Jack. Frank Stemple and I. but it 
didn't work out. They looked into it. and 
they realized the guy had tremendous talent 
and would have been very funny on the 
radio. But maybe it was the fact that they 
didn't want to get into something that would 
mii7iic Benny and Rochester." 

Other King of the Zombies memories are 
less vivid, although .Archer remembers Jean 
Yarbrough as "a good director — as a matter 
of fact, years later, he directed a test I made 
for The Egg and I [1947] for Universal. 
(Fred MacMurray became available, so that 
stopped all speculation on the subject of me 
being in it!) I'm sure I saw King of the 
Zombies, and I probably enjoyed the film, 
but you must realize that they were still B 
pictures, and you could tell the difference." 

While Archer's recollection o^ Bowery at 
Midnight is dim. the name Sam Katzman is 
one that the actor hasn't forgotten. "I worked 
with Sam several times after that: I think the 
last time was at Columbia, when he was 
producing a picture with Randolph Scott 
called Decision at Sundown [1957]. I had 
worked for him in the interim, on a couple 
other pictures. He was a sweetheart, really, 
but he was a rebel, he was kind of a 
■different" type of guy — a cigar-chompin' 
type of producer. Inwardly, he was a real 
nice man. but he didn't show it too often. I 
liked him." 

Lugosi was the star of Bowery at 
Midnight, playing a university professor who 
"moonlights" as a master criminal. Archer, 
as one of Lugosi's students, is having trou- 
ble researching a term paper on the thoughts 
which cross a man's mind just before he 
dies; when Archer inadveitently learns about 
Lugosi's secret life of crime, the evil Lugosi 




Archer dated actress Marl Blanchard in real life and married her in ree/life— In the 
low-budget She Devil. 






Hyproiism, voodooism and soul-transference made up just part of the wacky plot ( 
King of the Zombies with Archer (holding flashlight). 

STARLOG/Mflv 1994 



61 




"In those space suits, and under those lights, we got about as hot as you can get,' 
Archer recalls of Destination i\/loon's Crater Harpalus scenes. 



gladly provides Archer with the opportunity 
to research the subject first-hand. Like other 
actors who worked opposite Lugosi. Archer 
concurs that "he wasn't around to have fun 
or to converse with, or even to rehearse with 
too much, until you got on the set. Then, he 
would rehearse, and you would do the scene. 
Maybe he was a shy man. I don't know — I 
have nothing derogatory to say about the 
guy — he was a loner." 

Between Zombies and Bowery. Archer 
man-ied actress Marjorie Lord, his co-star in 
a stage production of Tlie Male Animal: their 
daughter, born in 1947. is actress Anne 
Archer (later the co-star of Fatal Attraction 
and Patriot Games). John Archer and Lord 
appeared together in Sherlock Holmes in 
Washington (1943). the third entry in 
UniversaLs series of Holmes adventures. 
Most audiences loved the Basil Rathbone- 
Nigel Bruce "B" series, but some critics (and 
finicky fans of the original Sir Arthur Conan 
Doyle stories) decried the studio's decision 
to update the characters to the World War 11 
era. "Those Sheriock Holmes fans — by God. 
they are rabid, they want everything to be 
just the way it was." says Archer. "But 
Universal was producing pictures to make 
money, and this was a question of making a 
buck. I'm sure that was their feeling — "Let's 
update it or change it in some way. and see 
if we can make a little bit more money." 
That's when all of the diehards got on them. 

"I enjoyed that movie, even though the 
part was minimal." Archer continues. ""Basil 
Rathbone and Nigel Bruce were both con- 
summate pros, and a pleasure and a delight 
to work with. They were wonderful people 
to be around, and very helpful. They each 
had a subtle sense of humor which was al- 
ways kind of fun. Marjorie and I had a scene 
together where I said goodbye to her. and I 
did the usual thmg. I patted her on the butt. 
'See ya later.' And the director [Roy 
William Neill] said. 'Cut. cut! Oh. come on. 
John, what are you doing'7' You can do 



those kinds of things in the movies today, 
but not then'." he laughs. 

Shadow voice 

Archer acted in a better grade of picture 
when he went under contract to 20th 
Century Fox. but even there, he admits. ""1 
realized that all the young actors out of New- 
York were getting the good parts and more 
money. That's when I elected to go to New 
York, because New York in those days was 
the "front door' to Hollywood. Hollywood 
was the "back door!' " In New York, he 
looked for stage and radio roles, and briefly 
considered jettisoning the name John 
Archer. ""When 1 went to New York. I 
thought to myself. "Well. I'll give up this 
"•John Archer" thing,' because I thought it 
might have an onus, being a contest winner. 
I thought, well, shucks, if that's the case, 
let's dump "Archer" and go back to Ralph 
Bowman. That's when the radio people said. 
"No. no — the John Archer name still means 
something, it still has a little marquee value. 




Archer uses an oxygen tank to propel 
himself in Destination Moon's famous 
"space walk" scene. 



because it has had so much exploitation. We 
like that." So I said, "I don't care what you 
call me. as long as you call me!' " 

And call they did; Archer quickly 
became one of the airwaves' foremost 
voices. ""1 was doing a lot of radio, going 
from studio to studio — soap operas in the 
morning, regular radio shows at night. There 
was a call for an inter\'iew for The Shadow. 
which I accepted just as I accepted any other 
interview. It didn"t mean that much to me — I 
didn't know anything about Tlie Shadow, re- 
ally, except the name. I went in on my lunch 
hour and the director Bob Steel was just 
leaving for his lunch. I explained to him that 
I had rushed over to have a quick interview 
with him (I was working), and he said. 
"Well, come on in, John, we'll give you a 
shot.' He did, and he liked the way I read, he 
liked the laugh and whatever else was neces- 
sary. He said. "Sounds pretty good. John. 
We'll get in touch.' And they did. and I was 
the Shadow in 1944 and '45.'" 

Archer took over the role at the begin- 
ning of the Mutual series' 14th year, follow- 
ing former Shadows Bill Johnstone. Bret 
Morrison and Orson Welles; his first in- 
stallment. ""The Ebony Goddess," was heard 
on September 24, 1944; his 30th and last, 
""The River of Eternal Woe," was on April 
15. 1945. (He also made guest appearances 
as the Shadow on a quiz program titled 
Quick as a Flash.) Archer's Margo Lane 
was actress Judith Allen; ""She was married 
to Gus Sonnenberg. a wrestler." he adds. 
""She had a slight movie career before she 
came to New York, and they cast her in that 
role. 

■"Myself, I didn't have a specific ap- 
proach for that [Shadow] role. I just treated 
it as any other job in radio, and that's what it 
was. I just wanted to go in and do a good 
job — and get my check." he laughs. ""I guess 
I did all right, but I'm not the judge of that." 
A number of the Archer Shadows were 
scripted by Alfred Bester. but Archer never 
crossed paths with the noted SF author. 
"That's not unusual, though — you didn"t see 
writers very often back then." 

In addition to the radio roles. Archer also 
found work on the Great White Way; his 
Broadway bow was in The Odds on Mrs. 
Oakley (1944). He eventually left The 
Shadow— and New York— "to go to 
EUitch's Gardens in Denver to be their 
leading man down there for the summer. 
EUitch's Gardens was one of the best-known 
summer theaters in the country — I think it 
still is. We did 10 plays, one every week for 
10 weeks. Then. I came back loaded with 
scripts (I got over a dozen scripts for new 
Broadway plays while I was down there), 
and I selected a musical called The Day 
Before Spring by Alan Lerner and Fritz 
Loewe. It was a semi-success, it wasn't too 
great — Bill Johnson. Irene Manning and I 
were the leads. But it was a departure. I'm 
sorry I took it. really, because I had to turn 
down Dream Girl and a couple of other 
beautiful shows that turned out to be big 
hits! But it was an experience, and it didn't 
hurt me in the long run." 

His New York gambit paid off — in a 



62 



STARLOG/.Wav 1994 



way. ■"! was brought back to Hollywood at a 
good salary, at a good studio [Universal- 
International] — but I sat around for six 
months while they didn't cast me in any- 
thing! They just loaned me out for one pic- 
ture of [producer] Walter Wanger's. The 
Lost Moment [1947] with Bob Cummings 
and Susan Hayward." His other late '405 
roles were in a pair of Warner Bros, features 
for director Raoul Walsh. Colorado Teni- 
tory (a Western remake of Walsh's earlier 
High Sierra) and the James Cagney classic 
White Heat. 

Moon Explorer 

Archer got star billing for the first time in 
the first of the '50s science fiction classics, 
producer George Pal's landmark Destination 
Moon. Based on a screenplay by SF novelist 
Robert Heinlein and screenwriter Rip Van 
Ronkel. the Technicolor space adventure 
was the first-ever Hollywood film to treat 
the subject seriously, with Archer starring as 
an aircraft industrialist "sold" on the idea of 
space travel by former army general Tom 
Powers and research scientist Warner 
Anderson (the nation that militarily controls 
the Moon controls the Earth as well). With 
additional financing furnished by other in- 
dustrialists, an atomic rocket is constructed 
in the Mojave Desert, but insidious foreign- 
inspired propaganda turns the tide of public 
(and government) opinion against the pro- 
ject. Caution is tossed to the winds as 
Archer. Powers and Anderson — joined by 
electronics technician Dick Wesson — decide 
to make a hasty pre-dawn liftoff in the 
untested spaceship Luna before the project's 
enemies can use the law to halt the launch. 

"I guess my agent got me an interview 
with George Pal. and I was signed." Archer 
surmises about the beginnings of his 
involvement. ""George Pal was a marvelous 
man. very thoughtful, very inventive. He 
wasn"t on the set a lot, but he was there from 
time to time; he wanted to come down (I 




Forty-plus years after Destination Moon, Archer (with Warner Anderson, left) still 
declares, "I loved the movie and I knew that It would be possible, someday, to get 
to the Moon." 



don't blame himi). and we were always 
happy to see him because he was such a 
pleasant man. He surrounded himself with 
such great talent: The writer. Robert 
Heinlein. was there a lot, and so was the 
man who designed the moonscapes. Chesley 
Bonestell. They did some beautiful work. 1 
thought they were highly intellectual, 
intelligent and interesting men. It was a 
pleasure to be with them, just to listen to 
them talk. Even though a lot of it was quite 
technical, it was understandable, and that's 



"Weightless" Dick Wesson Is about to catch a light snack on the rolling drum" 
spaceship set from Destination Moon. 



when you began to believe that these things 
were in the works, that they were going to 
happen. I really enjoyed those men very 
much, and I thought their talents were ex- 
ceptional. And Lionel Lindon. the camera- 
man — he was exceptionally good. We were 
all good friends, and we enjo\'ed working on 
the movie." 

The Irving Pichel-directed feature went 
into production November 14, 1949, at 
General Service Studio, where spaceship 
sets were ingeniously (and economically) 
constructed. ""The spaceship was a brilliant 
mechanism." Archer says. ""They had this set 
that would turn over [like a rolling drum]. It 
was fascinating to be in. If you were 
required to walk on the wall, the set would 
be turned so that the wall was under your 
feet. We were just doing what we had to do, 
and the set was rotating. And we reacted as 
we went along. I thought that was very 
interesting. For scenes where we were 
floating around weightless in the cabin, they 
had tracks up in the ceiling area, and motors 
would just move us out to wherever it was 
we were supposed to be." 

During the film's famous take-off scene, 
the G-force pressure distorts the faces of the 
pioneer astronauts — a special effect Archer 
remembers well. "That. I thought, was very 
interesting. Before shooting that scene, they 
put a wire and a piece of tape on each cheek 
and then they covered it with makeup. As 
the intensity increased, someone would be 
underneath us. out of camera range, pulling 
on these patches with the wire, which would 
force our faces into that position. And, natu- 
rally, we cooperated as much as possible. 

"In another scene, when we went outside 



STARLOG/ May 1994 



63 



the ship into space. Warner Anderson's 
character lost contact with the ship and 
floated off into space. I had to tatce a tank of 
oxygen and propel myself to him, and bring 
him back to the ship. Again, all that was 
done on a stage, with wires, and it was very 
exciting. That scene had a gorgeous back- 
ground of brilliant stars — that was a back- 
drop that Bonestell had done. It was just 
breathtaking, the sight of it." 

As for the moonscape set (representing 
the crater Harpalus). Archer recalls. "That 
was just a big, cracked-up thing, unlike what 
was actually found when they landed on the 
Moon. But this was their idea of it. big 
craggy areas and little valleys and hills. It 
was very effective. The problem with all 
those cracks was that they made our footing 
insecure and we had to look down too much, 
'cause otherwise we would have fallen on 
our faces! Remember, we were inside 
spacesuits. and our vision was hampered — 
we could only see so far with the helmets on. 
By the way. in those spacesuits, and under 
those lights, we got about as hot as you can 
get. Oh. it was insufferablel But who cared? 
You did the work, it was no big deal." 

Veteran Astronaut 

Director Pichel (with whom the actor 
worked again a year later, in the Technicolor 
Western Santa Fe) is described by Archer as 
"a very easygoing, swell guy. He had an ac- 
tor's approach because he was an actor — in 
fact, he appeared in Santa Fe. He was very 
protective of his actors, very understanding 
and very good. He could give you a lot. 
Being an actor, he knew the kind of direc- 
tion that we needed /;'o/7; him. and we ap- 
preciated that." 

Pichel's set was constantly being invaded 
by press, scientists and other curious kib- 
itzers, but according to Archer, the barrage 
of visitors didn't seem to hinder production. 
"We knew these people were there — all the 
top guys from the top schools and labora- 




Paying his dues on Poverty Row, Archer (right) fell victim to horror king Bela Lugosi 
in Monogram's Bowery at Midnight. 



tories were coming on. but we didn't know 
who they were and we didn't pay them much 
attention. They didn't seem to be interfering 
with anything, and you wouldn't even know 
they were there until you were told later." 
An occasional visitor would take a look 
around and comment that Pal was producing 
a fantasy film — an observation which would 
annoy the producer, who took great pains 
with what he called his "documentary of the 
future." "I can sympathize with George." 
Archer adds. "I would have gotten pissed off 
and kicked 'em off the set!" 

To insure that the "average Joe" could 
relate to the futuristic goings-on in 
Destination Moon, a Woody Woodpecker 
cartoon simplistically described the princi- 




The "race for space" takes its toll on the spaceship crew (Tom Powers, Dick Wesson 
and Archer) in George Pal's Destination Moon. 



pies of space travel, and an "average Joe" 
accompanied the space party: Actor Wesson 
as the Brooklynese radar/radio operator ("Go 
ahead. Oith!"). "I thought it distracted a little 
bit. but that's the way it was written, that's 
the way they wanted it and that's the way it 
was directed, so I guess that was supposed to 
be some kind of comic relief," Archer 
comments. "But. I don't know if it came off 
that well. By the way. Dick Wesson and I 
were good friends — the Wesson Brothers 
Dick and his brother Gene, did a lot of 
vaudeville work around the country. Dick, 
his wife, my then-wife Marjorie and 1 used 
to do a lot of socializing." 

More disastrous than Wesson's unfunny 
interludes was independent producer Robert 
Lippert's decision to "cash in" on the 
avalanche of publicity reaped by Destination 
Moon: Lippert knocked off a half-alike 
space travel movie and rush it into release 
ahead of Pal's feature. Archer remembers 
the "race-for-(theater)-space" well: "The 
Lippert picture with Lloyd Bridges 
[STARLOG #182]. Rocketship X-M— they 
did that one in a hurry, because we were tak- 
ing our time on Destination Moon. Ours was 
in color and it was just going to be great 
(and it was), so Lippert 'jumped the gun" 
with that other movie and got it out a couple 
of weeks ahead of ours — and it did kind of 
'steal our thunder' a little bit. Destination 
Moon was getting a lot of attention [from 
newspapers, magazines, etc.] during pro- 
duction, and by coming out first, they stole a 
little of that for themselves. But there was 
nothing we could do about it." 

One thing they coidd have done was rush 
through the balance of Moon when they saw 
Lippert's picture preparing for lift-off. but 
according to Archer, the pace of production 
didn't change even when the imitation 
loomed. "No. that was never manifested at 
ail durina the shootina. We were on a 



64 



STARLOG/ Mrtv 1994 



schedule and Irving Pichel was doing a fine 
job keeping on schedule. We were never 
pressed at any time. If an audience saw our 
picture, and then walked next door to an- 
other theater and saw this other one, they 
would say, 'Oh. my God — somebody's 
goofy somewhere!' [Rocketship X-M] cut 
comers. We tried not to cut comers." 

More than 40 years Later, Archer is still 
able to look back on Destination Moon with 
pride: "I loved the movie and I knew that it 
would be possible, someday, to get to the 
Moon. And later on. during the making of 
subsequent pictures, mankind was in space, 
making wonderful orbits around the world in 
our spacecraft. And we on the set would al- 
ways have a radio tuned in somewhere and 
we would listen to this stuff, because many 
of us were interested in it. And then [in 
1969], when a man finally did walk on the 
Moon, I was amazed and awestruck at how 
little [the landing procedure in] Destination 
Moon differed from the actual landing." The 
S586.000 feature grossed S5.5 million for 
distributor Eagle-Lion and won the 1950 
Oscar for special FX. 

Retired Actor 

Archer worked throughout the '50s, on 
TV and in movies big and small; his only 
other SF credit. She Devil (1957). has 
slipped from his memory other than the fact 
that it was made around the time that the di- 
vorced actor was dating the film's star, gor- 
geous Mari Blanchard. TV jobs included 
two stints on Ivan Tors' Science Fiction 
Theatre ("The episodes I didn't think so 
much of — I don't think Tors did. either! — 
but, what the heck, we were all making a liv- 
ing") and Rod Serling's The Twilight Zone 
(the classic "Will the Real Martian Please 
Stand Up"'). "Rod Serling was on the set a 
few times, and he was a very interesting, 
/a5/-witted guy. Well, he liad to be, because 
he wrote all those things overnight, practi- 
cally! He was a nice man." Movie work ran 
the gamut from The Big Trees with Kirk 
Douglas to Rock Around the Clock with Bill 
Haley and His Comets and Blue Hawaii with 
Elvis Presley ("a great guy and a wonderful 
gentleman"). 

Another '60s movie role was as the fa- 
ther of teenager Sara Lane in William 
Castle's 1965 suspenser / Saw What You 
Did, starring Joan Crawford. "Joan did all of 
her stuff in a hurry and got out; everybody 
else came to work then" Archer laughs. "I 
only saw her at the wrap party! I don't re- 
member much else about that one, except 
that I've never known a picture to get so 
much exposure. I still get residuals from 
that, and I wonder where in the heck they're 
still showing this thing!'' 

Archer's last feature to date was the Don 
Knotts comedy How to Frame a Figg 
(1971), and his last TV role was in the 
"wonderful" Rich Man, Poor Man. "I didn't 
give [the business] up, it gave me up. I had a 
nice career and I felt that I should move 
along, so I went into something else which I 
enjoyed very much; in the '60s. I went into 
the trucking business with my brother, and 
we built that sucker up to quite an important 




College student Archer gets some sage advice from Prof. Bela Lugosi- 
Archer remembers as a loner — in Poverty Row's Bowery at Midnight. 



-an actor 



\\ 




'is^fe. 



% 



■'\ liked having Mantan Moreland to work with," John Archer says of his comic relief 
sidekick in King of the Zombies. 



arena in Los Angeles. I would always go 
back and do a TV show if anybody hollered, 
but then I lost my agent and I just became 
disenchanted." 

But John Archer isn't complaining. 
Remarried (since 1956). he has four children 
(two by Lord, two by second wife Ann), 
grandkids and "some wonderful memories" 
of a long career in all media. If anybody 
wants to holler for him to do a TV show 
now, their lungs had better be in shape: For 
the past four years, he has been living in 
Washington state, where one of his sons 
works for an important engineering firm. 
"I'm also involved with the Radio 
Enthusiasts of Puget Sound. We had our first 
convention last June and it's a nice group, 
people who are just nuts about oldtime radio. 



and naturally I'm part of it. So we meet the 
first Saturday of every month." 

Obviously, fans of radio have not forgot- 
ten John Archer, the redoubtable Shadow — 
but will Universal, which is presently 
shooting a big-screen version of the mysteri- 
ous sleuth's exploits? Perhaps more perti- 
nently, would Archer be tempted by such an 
offer? "You know. I've thought about that. 
For two or three years, they've been talking 
about the movie, and I thought it was prob- 
ably shelved. But. I might qualify as the 
Inspector — I'm the right age now. (They 
might want someone younger.) But, yeah, I 
would like to be in it. and it couldn't hurt in 
a little exploitation way to say that John 
Archer was the original Shadow. Well, one 
of them!" •jfi' 



STARLOG/May 1994 



65 




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(continued from page 51 ) 

of my script for the next day. and fall into 
bed exhausted. On the weekends. I would 
spend my time cleaning the house, and doing 
whatever else had to be done." 

When it came time to film a second sea- 
son of The Strange Report, both Quayle and 
Wills decided the series' pace was too stren- 
uous and declined. Wills chose to take a 
break from acting and moved into the coun- 
try. "Up to this point, I had spent most of my 
life living somewhat outwardly." says 
Wills. "I decided that it was time to turn 
inwards, and concentrate on things that were 
important to me. I wanted to live in the 
country, grow vegetables and paint. 

"People would call up and ask me to 
come into town for a first-night performance 
or whatever, and I would have to tell them I 
couldn't because there was no one to water 
the lettuce." Wills laughs. "I was turning 
down some really gala things, but it was just 
a very inward time for me." 

After separating from her husband. Wills 
left England in 1980. living in Belgium and 
India for a time. While living in an ashram 
(a religious retreat) in India, some people 
recognized her from Doctor Who. and asked 
if she would like to perform Shakespeare in 
theaters around India. "The people in India 
that we talked to were very knowledgeable 
about Shakespeare. They knew much more 
about him than I did! We weren't getting 
paid for doing this work, and that was lovely 
because there was no pressure. We had time 
to work on it until we were ready. 

"I was glad that I didn't start doing 
Shakespeare until this point, because I was 
much more mature. We picked it apart and it 
was absolutely wonderful. I ended up find- 
ing out that his understanding of the human 
psyche was absolutely unbelievable." 

These days, most of Wills' time is taken 
up with her painting, as well as interior dec- 
orating. "I just finished decorating my 
neighbor's house down the road. She told 
me to just go for it, so now she has this in- 
credibly beautiful place, and it looks won- 
derful." Wills has also become involved in 
directing plays for a local theater group. "I 
had never directed before, so when I was 
first asked I declined. Then. I was finally 
persuaded, and found it absolutely thrilling! 
I chose the play [a Japanese play called 
Rashomon]. and we all got together and 
worked like crazy. After the curtain went 
down on the first night, the whole audience 
stood up and they were cheering! It was re- 
ally good to hear that. 

"Now. it's a complete drug, and we have 
to go on doing more. We just finished an- 
other play, which was very successful, and 
we're performing in an arts festival on the 
island where I live now. I was watching a 
TV series called Millennium the other 
night," comments Anneke Wills. "The 
narrator was talking about a group of people 
whose religion is to live life as an art. 
Whatever you do. you do as beautifully and 
truthfully as you can." ■^,f 



RoboCop 

(continued from page 55) 

designed pads to protect him. The suit is so 
tight fitting that the pads really restrict 
movement. The suits are fine for how much 
they were used in making a movie, but on a 
T'V series, where they're used every day, 
there's a lot more wear and tear." 

"We have Robovision stuff every day," 
promises Dale, "also computer monitor 
playback, diagnostics, multi-source presen- 
tations in a huge monitor wall in the OCP 
boardroom, plus the animation stuff. We 
went out and looked at some of the revolu- 
tionary new computer graphics software and 
bought some state-of the-art packages. The 
watershed creation of new technologies in 
Jurassic Park was a real boon to us. I think 
this is the first show to successfully marry 
Silicon Graphs workstation-based graphics 
with toaster' work. Everybody we talked to 
did either one or the other, but we managed 
to get the best of both so we can use the 
right application for each job." 

Stephen Downing seconds that thought. 
A policeman himself for more than 20 years, 
he prepared for RoboCop' s science-fiction 
aspects by reading Isaac Asimov's robot 
books and by discussing the subject on 
computer bulletin boards. "Science fiction is 
a very tight and narrowly defined world," he 
observes. "We're trying to be disciplined in 
our extrapolation of our future. Some people 
will not like it, some will. If there is a logic 
to it and it's well-grounded and it's enter- 
taining, then we've got it." 

Back out on the dock, everything is 
ready. The boat roars its engine. RoboCop 
raises a strange-looking weapon and fires it 
at the fleeing villains. Nothing happens, but 
on screen, the audience will see justice done 
in an unusual and surprising way, Robostyle. 



For more Robo coverage, see past 
issues of STARLOG: 

Peter Weller #121 (RoboCop). #157 

(Robo 2) 

Robert Burke #197 (Robo 3) 

Richard Eden #201 (TV Robo) 

Nancy Allen (Lewis) #123 (RoboCop), 

#155 (Robo 2) 

Dan O'Herlihy (OOP's Old Man) #131 

Ronny Cox (Dick Jones) #129, #157 

Kurtwood Smith (Clarence Boddicker) 

#129 

Miguel Ferrer (Robert Morton) #129 

Writers Michael Miner & Ed Neumeier 

#127 

Directors Paul Verhoeven #122 

(RoboCop) 

Irvin Kershner #158 (Robo 2) 

Fred Dekker #181 (Robo 3) 

Producer Jon Davison #123 (Robo), 

SLOG YEARBOOK #7 (Robo 2) 

Composers Basil Poledouris #196 

(Robo, Robo 3) 

Leonard Rosenman #169 (Robo 2) 

Set visits #117 (RoboCop), #154 (Robo 

2),#\69(Robo3) 



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(continued from page 39) 

inagazine quality. It has a lightness and a 
real caricature feel, but is still humorous and 
cartoony. I had to learn how to draw Dan 
Aykroyd and Jane Curtin. but beyond that. I 
haven't been having too many problems. It's 
a real challenge, because much of the Cone- 
head humor is very visual, and it's a chal- 
lenge to try to capture that in comic-book 
form. Their facial expressions have a lot to 
do with the humor. And the way that Terry 
is scripting the book, his choice of words has 
a great deal to do with their characters. I 
think we're doing a good job nailing it 
down, really getting their characters in the 
transition from the film to the page." 




Beacham 



The artist is going for a Mad magazine 
quality with his work on Coneheads, and 
he's being inked by EC Comics legend 
Marie Severin. 

The artist says the Coneheads film was 
unfairly overlooked at the box office, and 
hopes that its recent video release will gar- 
ner new fans. "It's a great film, and it's a 
shame it got eclipsed by dinosaur-mania last 
summer." he says. "I had heard that the film 
wasn't doing too well at the box office. I 
saw it and thought it was a shame, because 
it's really a very funny film. It's hard to take 
a five-minute skit and turn it into an hour- 
and-a-half movie. Many people have tried 
and not been able to do it. I'm hoping that 
the comic is well-received, and that people 
will read The Coneheads and get into the 
characters, because I think it's a great 
concept." 

As much as he enjoys the characters. 
Tom Richmond says the real-life Coneheads 
contacts have proven even more rewarding 
for him. "I've been very happy about 
working with Marvel Comics and Broadway 
Video." he says. "It's always fun to work 
with a new bunch of creative people. I 
couldn't be happier with the book's creative 
team. Marie Severin is the inker, which is 
very thrilling. She has been in the business 
for many years, working with EC Comics in 
the 1950s. She's a legend. I'm a very big fan 
of hers. Terry is a top-notch writer, his stuff 
is very funny, and of course Marvel is the 
quintessential comic book company. The 
most rewarding thing is being able to work 
with this creative team. It's going real 
smoothly, and I'm having a lot of fun with 
ConelieadsV "S" 



(continued from page 30) 

that before, yet there is a side to Michael that 
is actually extremely sensitive. He's a 
friend — and a terribly bad director, but a 
great producer, which is what he should be 
doing." 

She appeared opposite genre legend Peter 
Cushing (STARLOG #100) in two films, 
Dracula A.D. 1972 and ...And Now the 
Screaming Starts the following year. About 
Cushing. Beacham practically coos. 
"Ohhhhhh, what a delightful man," she says, 
echoing the comments of virtually everyone 
who has ever had a word to say about Cush- 
ing. She was originally cast as his daughter 
in the Hammer Dracula film, but his beloved 
wife Helen died, "and he went from a 17 
1/2-inch collar to a 14 1/2-inch collar in a 
month. And we changed my role to that of 
his granddaughter because the change was 
so extreme. He's a rneticulous gentleman: I 
learned a great deal from Peter," Beacham 
says in a tender, almost melancholy voice, 
"in that you can be a very gentle person, and 
if your work has the quality and the thought 
to it, you will be followed. He doesn't domi- 
nate a set. but because of his kindness and 
his meticulousness. things will be there 
when he needs them. He's like some won- 
derful nurturing gardener, making sure his 
plants come up straight. A complete delight, 
a complete delight." 

Although she worked with her close 
friend Judy Geeson on it, Beacham is quite 
aware that Horror Planet (a.k.a. Inseminoid) 
isn't exactly a career highlight. "Oh, that 
was a stunner," she says wryly. "I can re- 
member very clearly that whole situation. I 
was sitting at my kitchen table with two 
scripts and a pile of bills. The theater play 
was wonderful; the film script was trash. I 
looked at the two scripts, I looked at my pile 
of bills, I picked up the telephone, and said, 
T would love to be in Inseminoid. There is 
nothing I would like more.' All the integrity 
in the world would not keep my children 
fed. would not keep gas in the car." And so 
she filmed this awful 1980 ALIEN imitation. 

She has been the lead at times, and a 
supporting character at others, and Stephanie 
Beacham is a realist about fame. "Just to be 
recognized because you're on television is 
something that could befall a monkey. It 
doesn't actually mean a thing. To be recog- 
nized and appreciated for work that you felt 
was good — then that's wonderful." Among 
the work she's proudest of was her British 
TV series Tenko, about women in a World 
War II Japanese prisoner-of-war camp; it has 
been shown on PBS in America. And, she 
says, it's wonderful to be in the U.S. 

"I am amazed on a daily basis as I wake 
up; I see the ocean, and I see palm trees, and 
I think I'm fortunate enough to be earning a 
living in one of the most beautiful places I 
have ever seen," she says. "This little girl 
from Bamett just can't believe her luck. This 
is a blessed and spoiled life, and I am truly 
grateful that America has been amused 
enough to want to see me." "i? 



68 



STARLOG/Mav 1994 



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Furlan 

(continued from page 44) 

what's going to happen, not that I know 
anything in particular, but there are so many 
things that will be revealed in the second 
season (/it happens, that I don't know what I 
can say. With many things, I'm surprised, 
just like the audience. 

"I've been told some of the things, and 
I've asked about others, because it's almost 
impossible to play a scene if you don't know 
its context or reason. Sometimes I insist on 
an explanation, which is then part of the se- 
cret that goes into the second or third season, 
definitely think it's necessary to know 
some of those developments, but there are 
things you still have to guess, or make your 
own choices, even if they're not the right 
ones." 

Because of the speed at which Babylon 5 
is shot. Furlan is hard pressed to recall a 
particular scene or episode she considers 
memorable, but she has no trouble remem- 
bering guest stars. 

"1 enjoyed working with Morgan Shep- 
herd [in "Soul Hunter"] very much, and I 
loved working with David Warner ["Grail"], 
who is one of my favorite actors. David's 
one of the best actors in the world, and both 
he and Morgan have a stage background, so 
that makes me closer to them." 

When she's not working long hours on 
the galaxy's latest space station, Furlan is 
busy trying to make Los Angeles a less alien 
place to live. "I'm still learning. I don't 
drive, which is a very traumatic problem for 
me because I always hated driving. I stopped 
driving when I was in Yugoslavia, but in LA 
life is completely impossible without driv- 
ing, so it's ironic. 

"I take cabs — can you imagine? Nobody 
takes cabs here, but I do, and of course my 
husband drives me around, so we manage 
somehow, but I'm still very dependent and 
that has to be solved. 

"I still don't see how Los Angeles can be 
home, but I'm getting used to it. I'm discov- 
ering beautiful places here, mainly natural 
wonders like the mountains, the ocean and 
the beautiful climate. I really shouldn't 
complain too much, because there are many 
advantages to living here." 

For the immediate future. Mira Furlan 
will be turning her attention to making a life 
in America with her husband — with a daily 
commute to outer space, of course. Of the 
war-torn country she left behind two years 
ago. there are regrets, but the actress prefers 
to look ahead, not back. 

"In a way. our experience in that war was 
so dramatic and so painful that we have ab- 
solutely no thoughts of going back. Some- 
how, America seems to be the right place, 
and I think we aim to stay. 

"Because of the experiences we've had, 
I've learned not to plan anything. That's 
very difficult, because one is inclined to plan 
all the time, and I was always busy planning 
something. While it's easier to know what 
your next move will be. it's more realistic to 
live for today." 1« 



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36. Vol. 4 

E.T., Blue Thunder, Star Trek 
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with William 
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Star Trek: The Motion Picture, 
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Who. Interviews with Harrison 
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39. Vol. 1 

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STAfI TREK: THE NEXT GENERATION 
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uniforms. Also covers the 
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COMICS SCENE 
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VINCENT PRICE 
(1911-1993) 

e was known as a star of horror movies, 
I but that label doesn't begin to describe 
the long film career of Vincent Price, whose 
best movies were historical stories, "biopics" 
and — Price's favorite genre — comedies. Nor 
does it even adequately describe Price's 
work in film fantastica. which encompassed 
not only Gothic and modem horrors, but also 
a number of excursions into SF, a genre in 
which the great screen heavy was usually 
cast in sympathetic and even heroic roles. 

The Missouri-bom Price (whose life and 
career are further discussed in his FANGO- 
RIA #130 obituary) came on the movie 
scene in 1938 after several years on the stage 
(including Broadway's celebrated Victoria 
Regina with Helen Hayes). At Universal, he 
made his movie bow (in Service De Luxe) 
and also his SF debut two years later, in The 
Invisible Man Returns: Framed for murder 
and sentenced to die, Price's title character 
hunts the real killer with police on his trail 
and the invisibility drug duocane threatening 
to affect his brain. Not seen in the flesh until 
the climax — "layer by layer" (blood, bone, 
etc.), he materializes via John P. Fulton's 
special FX magic — Price makes one of the 
genre's most amazing "entrances." In 1948, 
he repeated the role as a throwaway gag 
at the end of Abbott and Costello Meet 
Frankenstein: the years between were spent 
building himself up to character stardom 
at 20th Century Fox, returning to the stage 
(most notably, the hit thriller Angel Street) 
and working in radio (including playing Jack 



the Ripper in an adaptation of The Lodger 
and a stint as Simon Templar in The Saint). 

Price's typecasting as a horror star in the 
late '50s meant the end of employment in "A 
pictures" but Price gleefully ruled the roost 
at small companies like Allied Artists and 
AIP, for whom he made some of his most 
popular chillers. In the SF vein, he had a 
fairly dispensable supporting part in Fox's 
The Fly (1958), but the huge financial suc- 
cess (and notoriety) of the film made it one 
of Price's best-known credits; he repeated 
the role one year later in the smaller-scale 
Return of the Fly, where he had more to do 
(and, perhaps consequently, found this fol- 
low-up even more to his liking). The Tingler 
(1959), directed by gimmick king William 
Castle, veered as close to fantasy as SF in its 
far-out story of an organism (resembling an 
oversized armored centipede) materializing 
on the spines of frightened humans; Castle's 
"Percepto" gimmick (buzzing theater seats) 
made the pic another box office smash. 

AIP, which put him in their Edgar Allan 
Foe pictures, also gave him the lead in 
Master of the World (\96\) as Jules Verne's 
peacemongering Robur, using his fantastic 
"ship of the sky" the Albatross to coerce the 
nations of the world into complete disarma- 
ment. Whatever flaws the pocket-sized pro- 
duction had, "anti-hero" Price gave a good, 
authoritative performance, free of the self- 
conscious implication of '"Here's your fa- 
vorite villain!" which he brought to many 
later roles (including a similar turn in AIP's 
War-Gods of the Deep). Serendipitously, his 
"heavy" and horror roles made Price a fa- 



During his own lifetime, Vincent Price 
became a legend of the fantastic. 

vorite of TV comedians who let him "send 
himself up" on the small screen, including as 
many as 25 spots on The Red Skelton Show. 
("Boy, could I use a straight man now!" 
Skelton once ad-libbed as Price hilariously 
minced as a villain.) 

Sophisticated Price may not have seemed 
like the right choice to play The Last Man on 
Earth (1964), based on Richard Matheson's 
/ Am Legend, but in some ways Price was 
just the right actor to star as the grim, embit- 
tered Morgan, fighting alone in a world 
filled with "vampires.'" The cheapness of the 
much-maligned black-and-white movie ac- 
tually helps it work, creating a ghoulish at- 
mosphere — one far removed from that of the 
colorful, slapstick Dr. Goldfoot movies in 
which Price (in a name takeoff on Goldfin- 
ger) played a scientific genius bent on 
world conquest. The mixed-up Scream and 
Scream Again (1970) and the black-comic 
Dr. Phihes movies followed at AIP, while 
on SF-TV, Price guested on The Man from 
U.N.C.L.E., Voyage to the Bottom of the Sea. 
Batman (as the eggs-otic baddie Egghead) 
and starred in his own short-lived series 
Time E.xpress (co-starring his third wife. 
Coral Browne). 

By the "SOs, horror and SF had entered a 
new phase and Hollywood began to dry up 
as a source of work for Price, who derived 
income from plays, art lectures and from ap- 
pearing in British films and TV, He was 
heard but not seen in Tim Burton's animated 
short Vincent, featuring model animation in 
its tale of a boy emulating Price's Poe 
portrayals, and in Michael Jackson's pricey 
music video (and top-selling album) 
Thriller. His genre credits grew worse 
{Bloodbath at the House of Death, Dead 
Heat), and Price even began to rankle — 
understandably, and commendahly — at 
interviewers who wanted nothing of the ac- 
tor/epicure/aesthete/art collector other than 
recollections of his cut-rate genre movies. In 
the midst of all this movie dreck, to the 
surprise of many of Price's fans (and 
perhaps of Price himself!), he had the oppor- 
tunity to appear once again in a "class" mo- 
tion picture, one of the first since his 20th 
Century Fox days; He took over for John 
Gielgud (caught in a scheduling conflict) as 
a courtly Russian (ex-) nobleman in The 
Whales of August (1987) with Lillian Gish 
and Bette Davis ("It was the kind of role I 
used to play and that I've wanted to get back 
to"). Three years later, he cameoed as a gen- 
tle Dr. Frankenstein-like inventor in Tim 
Burton's beguiling Edward Scissorhands. 
Price's final feature. 

"But have no fear, my friend, I'll be 
haunting you all forever," Price told a Hol- 
lywood Studio Magazine interviewer in 
1983. "When I die, I want my tombstone in- 
scribed; I'LL BE BACK!" In the hearts of 
his legions of fans, Vincent Price — who died 
October 25, 1993 — can never go away. 

— Tom Weaver 



76 



STARLOG/Mflv 1994 



CHAD OLIVER 
(1928-1993) 

Chad Oliver's long romance with SF and 
the intricacies of human nature ended 
on August 9. 1993. when the cancer he had 
fought for years finally took his life. He was 
6.^. He had made the mo.st of his all too short 
lifetime as a scientist and teacher in the field 




Chad Oliver crafted fine fiction while 
serving as a mentor to other writers. 



of anthropology, a writer of ground-breaking 
SF and Westerns, a family man and a mentor 
and friend to other writers. 

His relationship with SF began at age 13 
with his discovery of the Martian tales of 
Edgar Rice Burroughs, and from his first SF 
story sale at 21, he published a host of short 
stories, classic SF novels and award-winning 
historical novels. He combined his writing 
and scientific careers to produce uniquely 
humanistic fiction. ""Ideally." Oliver said. ""I 
don't think the function of SF is so much to 
communicate facts as to communicate an at- 
titude of understanding." 

Oliver was born Symmes Chadwick 
Oliver in Cincinnati. Ohio, in 1928. When 
he was a high school sophomore, his family 
moved to the small Texas town of Crystal 
City. The changing Texas he found spurred 
his interest in human history that would lead 
him into anthropology and also figure 
prominently in his fiction. 

While teaching and studying for his PhD 
at UCLA during the early 1950s. Oliver fell 
in with an informal circle of up-and-coming 
film and prose writers that included Ray 
Bradbury. Charles Beaumont, Richard 
Matheson and William F. Nolan, "'I always 
tell people I spent my honeymoon with Ray 
Bradbury." Oliver said in a STARLOG #182 
interview. ""He didn't drive, still doesn't as 
far as I know, so he needed a ride after the 
wedding reception. As my bride and I drove 
him home, he told us the plot of // Came 
From Outer Space.'' 

Oliver went on to teach anthropology at 
the University of Texas in Austin, where he 
became department chair and the informal 
dean of the Austin SF writers. 

His fiction was in the early wave of the 
change in SF from the gadget-oriented story 
to the human, character-driven story. His 
first adult novel. Shadows in the Sun (1954). 
the work he considered to be the closest to 



his heart, froze forever in time the small 
Texas town he based on Crystal City. It also 
gives the reader an autobiographical glimpse 
of the author in the novel's young anthro- 
pologist protagonist. 

In his early career, Oliver produced three 
more novels — The Mists of Dawn (1952), 
The Winds of Time (1957) and Unearthly 
Neighbors (1960) — and saw some of his 
short works collected in Another Kind 
(1955). While in the field on an expedition 
to East Africa, he broke his hiatus and wrote 
the major parts of two novels. The Sliores of 
Another Sea (1971). an SF novel of alien 
first contact, and The Wolf Is My Brother 
(1967), a historical Western about the last 
days of the Comanche on the Texas Plains. 
Both novels were heavily influenced not 
only by his sense of isolation but by the 
alien landscape of Africa itself. 

He followed them with another collection 
of short fiction. The Edge of Forever (1971), 
and a novel. Giants in the Dust (1976) and 
devoted himself mostly to his family and his 
teaching career. Then, just as he started a 
new historical novel in the mid-80s, he fell 
ill. The diagnosis, cancer, caused him to re- 
assess his priorities. Pushing on despite the 
physical and emotional pain of his illness, he 
completed Broken Eagle (1989), his Western 
novel based on new research from the site of 
the Battle of Little Bighorn. Broken Eagle 
won the Western Heritage Award for the 
Year's Best Novel. Shortly before his death, 
he finished a novel set in the early days of 
Austin and built around the Comanche leg- 
end of the Cannibal Owl. 

Chad Oliver is survived by his wife, 
Beje. and his son and daughter. A host of 
friends, fans and colleagues will remember 
him as a tall and genial friend, a gentleman 
and an avid student of both the past and the 
future. 

i»- —T.W. Knowles II 



RIVER PHOENIX (1970-1993) 



River Phoenix joined the science fiction 
community in 1985 in Explorers. 
portraying Wolfgang, the scientist within the 
young team. A character he described to 
Randy & Jean-Marc Lofficier in STARLOG 
#97 as having "a great deal of dignity." 
Wolfgang provided the 14-year-old Phoenix 
with the experience of making "someone 
who has never existed before." 

From there. Phoenix went on to make a 
name for himself — standing out as an actor, 
though very young — in films such as Stand 
By Me, Little NikitaJ Love You to Death. 
The Mosquito Coast, Sneakers, My Own 
Private Idaho and Running on Empty, for 
which he received an Oscar nomination. 

In 1989. Phoenix returned to the genre as 
Young Indy in the opening sequence of In- 
diana .lones and the Last Crusade. Though 
his performance was only approximately 10 
minutes of the film. Phoenix enjoyed the 
part that ended up launching a TV .series. He 
didn't mimic Harrison Ford's portrayal, but 
"interpreted it younger." 



As a member of ""young Hollywood." 
Phoenix was outspoken about environmental 
causes. '"I'm quite in love with the human 
race and this planet that we live on," he told 
Dan Yakir in STARLOG #147. "and I see 
life as fresh and beautiful, not because 'I 
have the world in my hands,' but because 
it's just my reality." He also belonged to the 
growing number of actors crossing the line 
between acting and music, which was 
Phoenix's first love. 

Sadly, Phoenix, only 23. died on Hal- 
loween Eve. 1993 in what was finally 
deemed an overdose of cocaine and heroin. 

Phoenix was respected and held in high 
regard as an actor by much of Hollywood. 
He didn't conform or fit a specific mold. 
"'When I was younger, I was worried about 
how others viewed me and if I was good 
enough," he said. "I realize now that you 
can't mold an image or try to be something 
that you are not." He was simply himself, 
something he wanted to be. Until the end. 

— Maureen McTigue 




Time for the talented River Phoenix 
was sadly brief. 



STARLOG/Mflv 1994 



11 



JEFF MORROW 
(1907-1993) 

For movie fans, a celebrity death can 
actually seem like many deaths, 
depending on the number of memorable 
roles played by the individual. The 
characters who battled the Creature from the 
Black Lagoon, the Giant Claw and 
Kronos — and the actor who played Exeter in 
This Island Earth — are all dead. 

Needless to say. there was a great deal 
more to the acting career of Jeff Morrow 
than his (mostly) low-budget SF movie 
credits but, as often occurs, that's the phase 
of his career which gave him his degree of 
cult status, and made him an honored guest 
at SF conventions. By then. Hollywood be- 
ing what it is. acting roles had begun to grow- 
scarce for the actor, who worked on the side 
throughout that period as a commercial illus- 
trator ("I would much rather be acting, but it 
pays the expenses comfortably." Morrow 
told Cinemacahre interviewer George 
Stover). In 1986. he played what was possi- 
bly his final TV role, on the revived Twilight 
Zone, in an episode ("A Day in Beaumont") 
co-starring fellow '50s monster fighters Ken 
Tobey, John Agar and Warren Stevens. 

Bom in Brooklyn. Morrow first became 
interested in the theater as a result of his art 
school studies. Stock company and radio 
roles came his way before his 1930 Broad- 
way bow in Once in a Lifetime (acting under 
the name Irving Morrow); many other stage 
roles followed, including Romeo and Juliet 
(one of more than a dozen Shakespearean 
roles). The Barretts of Wimpole Street and 
Saint Joan. Additionally, he remained busy 
in radio, eventually making more than 3.000 
appearances, including two years spent as 
Dick Tracy. 



Acting as Jeff Morrow after the mid-40s. 
he made his movie debut in 20th Century 
Fox's Biblical epic The Rnhe (1953). 
Morrow got good reviews for his supporting 
role as a scar-faced heavy, supervising (with 
Richard Burton) the Crucifixion of Christ 
and later engaging Burton in a sprawling 
swordfight: he subsequently landed a two- 
picture-a-year contract with Universal. The 
studio talked of grooming him as a big ro- 
mantic star but with only a few exceptions, 
his Universal roles were also mostly 
"heavy." from the native-inciting fanatic in 
Tanganyika (1954) to the slightly deranged 
surgeon who seeks to "bypass nature" in The Sj 
Creature Walks Among Us (1956). 

The best of his Universal roles was in 
This Island Earth (1955). playing a mysteri- 1| 
ous alien emissary who abducts terran sci-3 
entists Rex Reason and Faith Domergue to o] 
aid his home planet Metaluna in an inter- 
galactic war. The movie's plot loopholes and 
juvenile devices could clog a black hole, but 
its saving graces are its eye-filling special 
FX and Morrow's dignified performance. In 
the finale, after Metaluna has lost the war 
and been destroyed, a gravely injured Mor- 
row nobly returns the humans to Earth and 
then. Captain Nemo-like, purposefully per- 
ishes with his spaceship in a spectacular 
ocean crash. What was important about This 
Island Earth, Morrow explained in STAR- 
LOG #118, "was that there was a sense of 
hope — that if we do ever come to meet peo- 
ple from another planet, in some way we'll 
be able to communicate on a human level of 
understanding. At least, let's hope we com- 
municate 1" 

Around the same time that he was pro- 
tecting Earth from The Giant Claw and Kro- 
nos (both 1957). he was continuing to act on 




Behind the scenes on The Creature Walks 
Among Us, SF actor Jeff Morrow hosted 
wife Ann Karen and daughter Lissa. 

stage (a well-remembered LA production of 
Lincoln-Douglas Debates, with Morrow as 
the president) and on TV (his own series 
Union Pacific, as well as an episode of the 
original Twilight Zone). Film work dried up 
in the early '70s after the dreadful Octaman 
and Legacy of Blood, but he remained active 
on TV, including a regular slot on The New 
Temperatures Rising Show in 1973-4. 
Morrow died at a nursing home in suburban 
Canoga Park. California, the day after 
Christmas 1993. survived by his actress-wife 
Anna Karen and daughter Lissa Morrow- 
Christian (wife of the Associated Press' 
managing editor in New York). 

— Tom Weaver 




DON AMECHE 
(1908-1993) 

If there is one word that best sums up Don 
Ameche — both the actor and the man — it 
is class. 

Ameche starred in radio, film, stage and 
television, but may be best-known to SF fans 
for his roles in Cocoon. Cocoon: the Return 
and Hariy and the Hendersons. He won an 
Academy Award for his performance in 
Cocoon: he died December 6, 1993 of 
prostate cancer. 

Bom in 1908 in Kenosha. Wisconsin, the 
baritone-voiced Ameche starred in radio in 
the early 1930s, and began his film career in 
1936. The next dozen years saw him starring 
in a variety of movies, from The Story of 
Alexander Graham Bell and Down Argen- 
tine Way to In Old Chicago ?mA Alexander' s 
Ragtime Band. His favorite film, however, 
was directed by Ernst Lubitsch. 

"Damn near 100 percent of the serious 
people that I talk to will list Heaven Can 
Wait as my best picture, as I will," Ameche 
told STARLOG (issue #107). "The man on 

A late arrival on the SF stage, Don 
Ameche won an Oscar for Cocoon. 



the street may say it's The Story of 
Alexander Graham Bell, but the thinking 
people know." 

When his film and radio career 
(including the classic radio comedy The 
Bickersons) faded, Ameche turned to the 
stage and TV, citing a lack of good roles as 
he grew older. "Not only is there a lack of 
roles, there are so many people available that 
can do these parts — there are an awful lot of 
people my age," he observed on the set of 
Cocoon. "For any role that I would be eligi- 
ble for, there are probably 50 actors out 
there to choose from." 

Ameche returned to film in 1983 with 
Trading Places, and followed that up with 
the equally successful Cocoon, playing one 
of a group of senior citizens whose en- 
counter with aliens rejuvenates them all. He 
told STARLOG at that time that he would 
like to keep busy doing a film a year. "I have 
no room on my schedule or on my mind for 
retirement!" he proclaimed. The actor was 
largely successful in his goal, performing in 
Harry and the Hendersons, Coming to 
America, Things Change, Folks!. Oscar and 
Corrina, Corrina, which he completed just 
weeks before his death. 

— Kim Howard Johnson 




Cesar Romero laughed his way to genre 
immortality as TV's Jol<er. 



CESAR ROMERO 
(1907-1994) 

Cesar Romero, one of Hollywood's vet- 
eran actors, died January 1. 1994 in 
Santa Monica. Though his career spanned 
seven decades, and included such films as 
The Thin Man (1934), Wee Willie Winkie 
(1937), Vera Cruz (1954) and Ocean s 
Eleven (1960). he'll always be remembered 
as the Joker in the '60s TV series Batman. 
Despite Romero's advanced age. his passing 
was unexpected. The 86-year-old actor had 
been admitted to Saint John's Hospital for 
bronchitis, which developed into pneumonia. 
He was expected to recover, but his death 
was attributed to a blood clot. 

Born in New York City, the Cuban- 
American actor became a dancer and per- 
former on Broadway in the early 1930s. An 
MGM talent scout brought him to Holly- 
wood. His professional longevity may be the 
result of his versatility. As he recalled in 
STARLOG #146, "I was never stereotyped 
as just a Latin lover in any case, because I 
played so many parts in so many pictures. I 
was more of a character actor than a straight 
leading man. I did many kinds of charac- 
ters — Hindus. Indians. Italians." 

Romero was certainly no stranger to the 
fantasy genre. In the '50s, he took on prehis- 
toric monsters in producer Bob Lippert's 
Lost Continent (1951) and The Jungle 
(1952), while in the '70s he played in three 
Disney entries: The Computer Wore Tennis 
Shoes (1970), Now You See Him, Now You 
Don't (1972) and The Strongest Man in the 



World (1975). Kurt Russell was the films' 
young hero, "boy genius" Dexter Riley, and 
Romero was comic villain A.J. Amo. 

Other genre roles included The Story of 
Mankind (1957). Two on a Guillotine 
(1965), Latitude Zero (1970) and The 
Specter of Edgar Allen Poe (1974). 

When television became a major medium 
in the 1950s, Romero easily made the transi- 
tion. He guest-starred in countless series in 
the 1950s and 1960s; by his own admission, 
it was a matter of "you do your job, collect 
your paycheck and go to the next show." 
One such "job" was a stint as the villain Vic- 
tor Gervais in "The Never-Never Affair" on 
The Man from U.N.C.L.E.. Romero's TV 
work also included Bewitched, Night 
Gallery, Fantasy Island and Buck Rogers. 

Since he appeared in more than 100 fea- 
ture films, it's a bit ironic that Romero has 
become so closely identified with the Joker, 
the campy clown criminal he essayed on 
TV's Batman. With his maniacal laugh and 
mustache-under-the-makeup. Romero's 
Clown Prince of Crime cavorted in 19 
episodes during the show's three-year run. 

He continued to do TV guest shots, cele- 
brating his 80th birthday while doing a stint 
as Jane Wyman's husband on Falcon Crest. 
He also worked for charities, including his 
pet project, the Retinitis Pigmentosa Interna- 
tional, which fought a disease that causes 
blindness. He finished his final film only the 
day before he entered the hospital. Cesar 
Romero was truly an actor until the end. 

— Eric Niderost 



1 



STEVE JAMES 
(1952-1993) 

I est known for a long string of action 
films, actor Steve James died at age 41 
of pancreatic cancer in Los Angeles. A 
major genre fan. as well as an accomplished 
stuntman and occasional screenwriter, James 
flirted with the fantastic in small parts in The 
Wi:. Wolfen and John Sayles' Brother from 
Another Planet. His last role found him 
making a rare villainous appearance in Fox's 
comic-book-style Mantis pilot. 

At a time when black action stars were a 
rare commodity, James forged a memorable 
career for himself by appearing as two-fisted 
good guys in the '80s hits The E.xterminator, 
The Soldier, Delta Force, the American 
Ninja trilogy. Avenging Force and P.O.W.: 
The Escape. 

"These films are about bigger-than-life 
fantasies that allow audiences to escape the 
real world for a couple of hours," James told 
ACTION HEROES" Marc Shapiro in 1990. 
"And I would say that I'm perfectly suited 
for these films. My agent would like me to 
be the new Sidney Poitier. but I keep saying 
that I really want to be the new Jim Brown." 

On the upper scale, James appeared in di- 
rector William Friedkin's To Live and Die in 
L.A. and his two C.A.T. Squad telefilms, and 
the little-seen but critically praised drama 
Riverbend (for his frequent action director 
Sam Firstenberg), in addition to the satirical 



hits Hollywood Shuffle, Tm Gonna Git You 
Sucka (as the hilarious Kung Fu Joe) and 
Robert Altman's The Player (as himself). 
Bom in New York City to a musician father 
and dancer mother, James did not entertain 
any acting aspirations until he watched the 
007 adventure From Russia With Love. 

"I saw Robert Shaw in that as the assas- 
sin, and that totally flipped me out," James 
recalled. "This guy had almost no dialogue, 
but you always knew he was around, and he 
was really making me nervous. I said, 
'That's great acting, man,' and I guess that's 
when I got the bug. I know it made my 
mother happy, because she really wasn't too 
keen on my being a fireman." 

In recent years, James tried to rise above 
racial stereotyping by creating his own roles. 
He co-wrote 1990's Street Hunter as a star- 
ring vehicle for himself, and at the time of 
his death, was developing Brooklyn Mummy 
and an untitled vampire-fighter movie. 

"I'm trying to go in the direction that 
Fred Williamson has gone, producing and 
starring in his own films," James said. "I'm 
tired of waiting around. I know I've got a lot 
more to offer. Actionwise, I've got stuff in 
my mind that people haven't even imagined. 
The best is yet to come." Sadly, this 
promise will never be realized. 

— Anthony Timpone 

Steve James was an imposing 
presence and a wonderful guy. 






Early in the moming, before 
the roosters show up, 
STARLOG pubUsher 
Norman Jacobs often drops by 
my office. He's usually on his 
way to brew coffee for early bird 
staff members, but en route, he'll 
stop in to let me know just what's 
happening with publishing 
projects, office arrangements and 
the STARLOG stores. 

Wait, glass carafe in hand, here 
he is now. 

"The STARLOG Franchise 
Corporation — listed as SIFI on 
NASDAQ — is, as most readers know, 
franchisor and operator of stores 
specializing in SF collectibles, comics 
and trading cards," Norm says. "We've 
recently opened our first mall location at 
the Garden State Plaza in Paramus, New 
Jersey. We also operate a STARLOG 
store, the first one actually opened, in 
Ridgewood. NJ, and we have a franchised 
location in King of Prussia Plaza in 
Pennsylvania. Within the next few months, 
we plan to open at least eight new locations. We're also currently 
negotiating for 10 more franchised and five joint-venture stores." 

And where would those be? 

"We're either in final negotiations or executing leases for the 
country's largest shopping mall, the Mall of America in Bloom- 
ington, MN; Underground Atlanta in Georgia; Chicago's Fox Val- 
ley Mall and Arrowhead Town Center, Phoenix, AZ," 
Norm declares. "We're also negotiating leases in Chicago ^ij;»Mi 
New Orleans, Stamford, CT, Sacramento, LA, San Diego 
and Mexico City." 

Of course, these STARLOG stores are a sister 
concern to this magazine. All of the stores stock a full 
complement of STARLOG, FANGORIA, COMICS 
SCENE and related periodicals like our single-topic 
forum. STARLOG PLATNIUM EDITION. 

PLATINUM #2— focusing on SF heroes & 
heroines — was an especially interesting volume for 
our editorial team to assemble. Since it went on sale 
alongside STARLOG #200, we were able to feature 
interviews therein that we might otherwise have run 
that month in STARLOG had #200 not been a 
special issue — namely Gillian Anderson of The X- 
Files, Don Franklin oi seaQuest. Babylon 5's 
Michael O'Hare and TekWars Greg Evigan. And 
because PLATINUM EDITION is a separate 
magazine, it didn't seem repetitive to feature new 
interviews with various folks that STARLOG has 
already profiled in the last two or three years. 
(Believe it or not, we try to avoid repeating 
STARLOG interview subjects too frequently. 
Look to Emie Hudson on page 32 — we last 
talked to him 104 issues ago, that's eight-and- 
a-half years). 



Anyhow, that kind of PLATINUM interview includes Scott 
Bakula. Laura Dem, Michael Dom, Suzie Plakson, Mark God- 
dard, Robin Curtis, Jon Pertwee, Bill Paxton, Sigoumey Weaver, 
Chris Barrie and William Shatner. Plus, there are 
brief chats with DeForest Kelley and Sean 
Connery. Can't find STARLOG PLATINUM 
EDITION #2 anywhere? Well, if you like, order it 
directly from us (see page 68). 

We're just finalizing PLATINUM #3. It's 
perfect for those of us who know that what we 
really want to do is direct. It's an all-directors 
issue with interviews with Richard Donner, 
Terry Gilliam, Robert Gist (who helmed Star 
Trek's "The Galileo Seven"), Red Dwaifs 
Andy DeEmmony. Voyage to the Bottom of 
the Sea helmsman James Goldstone, Robin of 
Sherwood's Ian Sharp, animated Batman 
director Kevin Altieri and many others we 
haven't figured out yet. Look for it May 24. 

In the meantime, let me note a 
couple of features on display in our bi- 
monthly licensed Star Trek magazines. 
NEXT GENERATION #27 (out in 
February) features an extremely long and 
very candid interview with the woman in 
charge of the series, executive producer 
Jeri Taylor, as well as a profile of 
Carolyn Seymour (known for her Next 
Generation and Quantum Leap guest stints). NEXT 
GENERATION #28 (on sale April 13) unveils the son of Spock— 
Adam Nimoy — talking about directing "Rascals" and 
"Timescape." Plus, there's Gates McFadden, writers Steve Gerber 
& Beth Woods and more. 

As for DEEP SPACE NINE, issue #6 (on sale March 15), di- 
rect from the Promenade, is Quark's Bargain Special. Inside are 
interviews with two Ferengi fellows — Max Grodenchik (Quark's 
brother Rom) and Aron Eisenberg (Rom's son Nog) — and a Car- 
dassian named Gul Dukat (actor Marc Alaimo). In fact, 

there s a special price marked on the issue, 

for copies actually sold on the 
Promenade, "three strips 
gold-press latinum." Now, 
I do wonder just how 
many clerks at convenience 
stores nationwide are going 
to be puzzled by that one. 
DEEP SPACE NINE #7 
warps out of the wormhole 
soon enough (on sale May 
12). It's an all-synopsis issue. 
And as always, if you can't 
find specific NEXT 
GENERATION or DS9 
volumes, see the back issue ads 
herein (page 24, 70). Or 
subscribe (see page 3 1 ). The mail 
order department accepts cash, 
checks, money orders and major 
credit cards. 

Sadly, though, no gold- 
press latinum. 

— David McDonnelll Editor 
(February 1994) 




The future in STARLOG: Lionel Jeffries explains what it's like being one of the First Men in the Moon... Peter Beagle 
reveals A Fine & Private Place... and the writers & directors of a classic TV series remember The Invaders. Check out 
STARLOG #203, on sale Tuesday, May 3, 1994. 



82 



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EY JOHNDeLlNCIE Sll\RO.N R\RREI1 SETHGRELN HlMBERTOORTlZJONmiNraiM-NOBBEIIIfE 
^.MNHO^MTB MdM^^kDHOPOSmUGE d^.*«^ GEORGE MOOMLIN ,M«..o.%.DONDfi's^b.DA¥fl)S.GOM 

-^■^:r^ — ^. cam HENDERSON C.S.A/rOMMcS^IEM\' ^..teWvnton |^MOONsroNE| ^ _J 
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|«^t „. ■„, , ; COniiair 81993 Fill MOON EMBIUSKEM a iC<,.re<*l»4i,i»= 



coniiair e 1993 Fiii moon embiuskevt. 

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